tag:danmiraldi.com,2005:/blogs/dan-miraldi-s-rolling-clone-blogazine?p=7
Dan Miraldi's Rolling Clone Blogazine!
2023-12-31T09:11:15-05:00
Dan Miraldi
false
tag:danmiraldi.com,2005:Post/7326409
2023-12-31T09:11:15-05:00
2023-12-31T09:11:31-05:00
Dan's 5 Favorite Albums of 2023
<p style="text-align:center;"> </p><p style="text-align:center;"><strong>1. Grace Potter – Mother Road</strong><o:p></o:p></p><p> </p><p>Grace Potter made the best album of her post-Nocturnals era. In her own unique way, she meshes heartfelt and sometimes racy storytelling into her distinctive blend of Neo-Classic Rock. As a vocalist, no one is currently better. The keyboards rip a la 70s Elton and Faces. Favorite track – the Tarantino score-esque “Lady Vagabond.”</p><p><strong><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/16/9d0c18ada906f201cfab341ad4eb4edbb83ee9b9/original/grace.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></strong><o:p></o:p></p><p> </p><p style="text-align:center;"><strong>2. The Struts – Pretty Vicious</strong><o:p></o:p></p><p> </p><p>The Struts have always been one of the best live touring bands to emerge in the last ten years. They have made great singles, but finally they have made an album that hones their greatness from front to back. The band knows how to craft a Queen-loving pop hook, but they also fuse in 1980s Stones dance grooves and guitars with a tasteful use of comeback era Aerosmith horn orchestrations. Favorite track “Do What You Want.”<o:p></o:p></p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/16/285762b71556ccd174a0e8ac7b09c98657ce235e/original/struts-jpg.webp/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p style="text-align:center;"><strong>3. The Hives – The Death of Randy Fitzsimmons </strong><o:p></o:p></p><p> </p><p>Sometimes I get frustrated why it takes so long between Hives records, but then the album arrives, and it is perfect, and I forgive them immediately. The Hives like AC/DC and the Ramones before them stumbled upon a magical recipe early on and delightfully have stuck with it. Favorite track “Countdown to Shutdown” (but they are all delightful).<o:p></o:p></p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/16/bf028ab8ac6e2cf90d9cd730036911c027545947/original/hives.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p style="text-align:center;"><strong>4. Alex Lahey – The Answer is Always Yes</strong><o:p></o:p></p><p> </p><p>In terms of indie rock singer-songwriters, Alex Lahey is one of the best out there. She’s a great lyricist and the guitar production of this record makes it a cathartic and uplifting listen. Favorite song “You’ll Never Get Your Money Back.”<o:p></o:p></p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/16/a539e92e39d2689b1bc9e95452123c49d44a1064/original/alex.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p><p style="text-align:center;"><strong>5. Blink-182 – One More Time . . . </strong><o:p></o:p></p><p> </p><p>The reunited classic Blink lineup did not disappoint. It is an album for their fans. They’ve grown up, learned some things, but still appreciate a good dick joke. It’s a satisfying reunion. Favorite song “Fell in Love.”<o:p></o:p></p><p> </p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/16/0bd674c59c2f0245cc8ce0feee093f7bf10b6e8e/original/blink-jpg.webp/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/7129612
2022-12-29T08:26:20-05:00
2023-10-16T10:44:53-04:00
Dan’s 5 Favorite Films of 2022
<p>In 2022, I saw 30 movies in theaters. Of those 30, these are the ones I enjoyed most (not necessarily the ones I think will win the Oscar). </p>
<p><strong>1. <em>The Lost City </em></strong></p>
<p>It won’t win best picture, but this film takes the cake for the most fun and the most likely for me to rewatch. This action comedy was a throwback to 1990s classics like <em>True Lies</em>. It was a great escape.</p>
<p><span class="font_small"><img src="//d10j3mvrs1suex.cloudfront.net/u/16/cc3efea962c49357ab212c24516dc58ef1a1f9f1/original/mv5bmmiwyzfhodaty2i1ys00zddmltkyywqtzji5ndiwmdc2mjeyxkeyxkfqcgdeqxvyodk4otc3mty-v1.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></span> </p>
<p><strong>2. <em>The Whale </em></strong></p>
<p>This was an emotional one. The whole cast brought it, but Brendan Fraser was next level. He deserves the Oscar for his performance. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/c6dc25ce86b0db693b99ba8683fda34d6228261d/original/mv5bzdq4njg4ytctngzkyi00nwu1lwi4otytnmnjowmymji1nwyzxkeyxkfqcgdeqxvymta3mdk2ndg2-v1.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></p>
<p><strong>3. <em>The Menu </em></strong></p>
<p>Of the dark comedy films providing commentary on the lives of the uber rich, I found this one to be the most satisfying. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/a5eb85ad2970c0d0ab07ab691d649974338b0633/original/mv5bmzdjnji5mmytodhins00ntcylwezzmutyzvmodm5yzexnde3xkeyxkfqcgdeqxvymtaymjq3nzq1-v1.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /> </p>
<p><strong>4. <em>Bodies Bodies Bodies </em></strong></p>
<p>It was a fresh take on the horror and whodunit genres. It made me laugh at times and kept me guessing. I won’t spoil it. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/ab1cfddf8cf316a043fdf4197cd29043bfcadc8c/original/mv5byta2odg5zjgtotu2my00mzfklwi0nzmtzmq5mmrhmwu1nzhlxkeyxkfqcgdeqxvymtm1mte1ndmx-v1-fmjpg-ux1000.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></p>
<p><strong>5. <em>The Batman </em></strong></p>
<p>This is the best DC movie since Christopher Nolan. I thought it was a well-told mystery placed in the context of the Batman universe. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/1062008617b2b1ae03220eca608d251bcf435cbd/original/mv5bmddmmtbintytmdizni00ngvllwizmdytztk3mtq3ngqxzgewxkeyxkfqcgdeqxvymzmwotu5mdk-v1.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/7129584
2022-12-28T17:58:32-05:00
2022-12-28T19:16:57-05:00
Dan's Top 5 Favorite Albums of 2022
<p>Hello, after another year of not blogging, I am back with my year-end albums list. Obviously there are plenty of records I did not get to check out. Honestly, I have been heavily listening to archival releases of the Grateful Dead and the JGB (I am not sure what happened, but I cannot stop listening). However, when I came up for air, these were my favorite albums from 2022. Enjoy!</p>
<p><strong>1. Elvis Costello & the Imposters – <em>The Boy Named If </em></strong></p>
<p>This album arrived in early 2022 and has stayed with me ever since. The songs on this can stand proudly next to anything in E.C.’s celebrated 45 plus year career. It rocks (“Farewell, OK” and “What If I Can’t Give You Anything But Love?”) and swoons (“Mr. Crescent”). Give Costello his due. He is pushing forward and the new stuff is consistently high quality. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/689fbad83addaca20e734e86bbf6ed87b56de5f3/original/cover-4.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p><strong>2. The Helicopters – <em>Eyes of Oblivion </em></strong></p>
<p>These veteran Swedish rockers delivered a high-energy modern garage classic with their latest release, <em>Eyes of Oblivion</em>. “Reap A Hurricane” was regularly spun on Little Steven’s Underground Garage, but the whole disc is consistent, joyful and gritty! </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/bb9cb6ea1c5276836c4eebe07b7729d9f88da709/original/a2170066833-10.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p><strong>3. Mike Campbell & the Dirty Knobs – <em>External Combustion </em></strong></p>
<p>Tom Petty’s right hand man keeps the flame burning with this swampy, but beautiful collection. Campell and Co. bring out some great guests with Margo Price on “State of Mind” and Ian Hunter with “Dirty Job.” We all miss Tom Petty and the Heartbreakers, but this project is a worthwhile consolation prize you should support. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/0d3441b8590958c9c6e49a661ed5bc810f56f97d/original/51gyzoanial-sy580.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p><strong>4. Soraia – <em>Bloom</em> </strong></p>
<p>Seeing this band live was what first won me over, but songs like “I Seek Fire” and “Hammer and the Anvil” had me counting the days for the full album’s release. The dirty glam-tastic <em>Bloom</em> did not disappoint. Enjoy this record’s crunch guitars, delightful drum tones and fantastic vocals. Pay attention to this band. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/d1d71f3cb0daabec2fbee8ed7c7f683646a5819d/original/71leesrh0hl-ac-ul600-sr600-600.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p><strong>5. Tedeschi Trucks Band – <em>I Am The Moon </em></strong></p>
<p>TTB wisely released this quadruple album in four parts throughout 2022. Often, the boldness of a double album bears the scars of being overblown and heavy with filler. However, <em>I Am The Moon</em> keeps up the consistency and across all four parts. Overall it’s an intoxicating blend of blues, rock, soul and jam music. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/2f973906dff555a8ed1c1dfbd61498040aa624b2/original/ttb-deluxebox-embossmodel-rgb.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/6855880
2021-12-31T10:14:09-05:00
2022-11-24T00:26:48-05:00
Favorite Albums of 2021
<p><strong>10. Hutch Harris </strong>– <em>Suck Up All the Oxygen</em></p>
<p>This album reminded me of how important Hutch and the Thermals are to me.<em> Suck Up All the Oxygen </em>is a concise 10-track 17-minute album packed with snark, sarcasm and fierce punk hooks. </p>
<p><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/f7e1d1a7c9ae314b08532140220c6b38776aa96b/original/a1531836914-10.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></em></p>
<p><strong>9. The Dead Daisies</strong> – <em>Holy Ground</em></p>
<p>This is the band's sixth studio album, but the first to feature former-Deep Purple bassist and singer Glenn Hughes. The record sounds great. Glenn's voice is age-defyingly amazing. Be sure to give the songs "Like No Other (Baseline)" and "Chosen and Justified" some proper attention. </p>
<p><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/85ae62848301d8a54c46837eb52d5bc616de4ab0/original/8129irtdihl-sl1500.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></em></p>
<p><strong>8. Deep Purple </strong>– <em>Turning to Crime</em></p>
<p>Speaking of Deep Purple, the current lineup of Deep Purple made this excellent album this year. It took a lot for a covers album to make my list. Deep Purple usually write songs by jamming together, but the pandemic forced them to record remotely away from each other, so a covers album makes sense. They choose an eclectic batch of songs and put their signature spin each one. There are plenty of surprises here. Don't miss the closing mega-medley "Caught in the Act." </p>
<p><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/3143692749461d2740920033b8bce1596a44adf1/original/https-specials-images-forbesimg-com-imageserve-61a14e97d19ff4b54c70c192-deep-purple-released-their-22nd-studio-album-turning-to-crime-a-collection-of-12-960x0-jpg-fit-scale.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></em></p>
<p><strong>7. The Darkness </strong>– <em>Motorheart</em></p>
<p>Not sure who is still paying attention (in the U.S. at least), but the Darkness are the rock gift that keeps on giving. Lyrically the band are clever, sometimes silly, but always sincere in their passion in making new classic rock. Justin Hawkins voice is otherworldly, the production and the instrumental performances are stellar. Plus, the band that was always compared to Queen now actually has the son of Queen's drummer Roger Taylor, Rufus Tiger Taylor, behind their kit. </p>
<p><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/6aa4a7b9a0566abf2aec162fcfa20e0bc6906442/original/vgu95c-motorheart-preview-m3-550x550.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></em></p>
<p><strong>6. Ben Kweller </strong>– <em>Circuit Boredom</em></p>
<p>Another short album at just over 28 minutes. Ben Kweller had been releasing singles from this album for over a year prior to the record's official release on January 1, 2021. Ben's brand of crunchy Weezer-meets-Tom Petty power pop is something we need more of these days. Listen to the whole album. </p>
<p><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/c11752f138fafbac6eacd0e158b228c2c935c0df/original/91m6mm3wktl-ss500.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></em></p>
<p><strong>5. Cheap Trick</strong> – <em>In Another World</em></p>
<p>At this point, Cheap Trick could simply tour and just play the hits, but they make new albums because they are artists. They also make GOOD fan-pleasing new records. Check this one out and don't miss the single "Light Up The Fire."</p>
<p><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/b587993d1557c8319399bfe94416ff7f33a5703c/original/604-6.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></em></p>
<p><strong>4. Sleater-Kinney</strong> – <em>Path of Wellness</em></p>
<p>This is a "more chill" Sleater-Kinney record, but in a world of uncertainty and chaos, it hit right. Don't miss the fantastic single "Worry With You."</p>
<p><i><img src="//d10j3mvrs1suex.cloudfront.net/u/16/a733bf6bfbc1634858f4cb88dcb823f1657ec1c5/original/418465074051.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></i></p>
<p><strong>3. Angels & Airwaves</strong> – <em>Lifeforms</em></p>
<p>The streaming era relies on releasing singles which is what Tom DeLonge and his band Angels & Airwaves did. However, I did not appreciate the new music properly until I could experience it as a complete album. That being said, if you only listen to one song on this album, listen to "Losing My Mind." It's a banger. </p>
<p><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/4efe27c1542a5418a2172a36622b2bf70b2cb485/original/angels.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></em></p>
<p><strong>2. The Pretty Reckless</strong> – <em>Death by Rock and Roll</em></p>
<p>Wait, isn't that Jenny from Gossip Girl? Yes, it is. I had been sleeping on Taylor Momsen's music and the Pretty Reckless until this year. She is an amazing singer and <em>Death by Rock and Roll</em> is unquestionably great. Production-wise, this is one of the best sounding new rock albums out there. It's also packed with excellent songs such as - "Witches Burn," "25" and "Only Love Can Save Me Now." </p>
<p><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/82b71612d9c1725038a8ac601ae0c66c1eff91a9/original/91amwduncel-sl1500.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></em></p>
<p><strong>1. The War On Drugs</strong> – <em>I Don’t Live Here Anymore</em></p>
<p>Until this release, I always liked the idea of liking the War On Drugs more than I actually liked them. Now, I am onboard. <em>I Don't Live Here Anymore</em> does not have a single bad song. The lyrics are rich and poetic. The whole album (like any good album) should be listened to at least three times, because it grows on you. However, my favorite track from the record is "Wasted" (especially when the bridge kicks in oooh la la!). </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/71894458ecec4cdb3b744a1a4279b3e9a195059b/original/the-war-on-drugs.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p> </p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/6643596
2021-05-29T13:55:53-04:00
2023-12-10T11:28:28-05:00
NEW SINGLE "DANCE THE APOCALYPSE" OUT JUNE 4TH
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/44d2217b7ac7959b944b30947b2da302ded7c521/original/dance.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></p>
<p>June 4, Dan Miraldi is releasing a new single, “Dance the Apocalypse.” It is the first track arriving from the upcoming punk-infused EP, <em>15 Minutes of Fury</em>. This new record announces a sonic changeup from last year’s twin folk releases, <em>Mood Music for Introverts</em> and <em>More Mood Music</em>. “Last fall, I decided to put a pin in the acoustic stuff. Anxiety was high and I needed loud guitars and to scream in order to cut some of the tension,” the singer explains. He assembled a killer socially-distanced backing band made up of North Carolina-based ringers Jeremy Radio on bass and Dominic Geralds on drums and Cleveland-area favorite Ray Flanagan on lead guitar. Miraldi continues: “I told Ray the vibe I wanted from his guitar. It’s the end of the world. There’s a giant asteroid coming and the sky is on fire. We are onstage playing to a mosh pit full of sweaty people who just want to dance like fiends before everything explodes into oblivion.” </p>
<p><em>15 Minutes of Fury</em> will be released late July 2021. In the meantime, “Dance the Apocalypse” will be available on digital service platforms this Friday, June 4.</p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/6509917
2020-12-30T10:51:43-05:00
2020-12-30T12:00:34-05:00
Favorite Albums of 2020
<p>First off, 2020 is the year I released three records, <a contents="Mood Music For Introverts" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/1NYJIvo0AhzGsksrcnuBE1?si=mYTWoOnlSRS6gHWadLMy3A" target="_blank"><em>Mood Music For Introverts</em></a>, <em><a contents="More Mood Music" data-link-label="" data-link-type="url" href="https://danmiraldi.bandcamp.com/album/more-mood-music-deluxe-edition" target="_blank">More Mood Music</a> </em>and the Cherry Flavored Elevator's <a contents="Garage Rock Masterpiece Theatre" data-link-label="" data-link-type="url" href="https://thecherryflavoredelevator.bandcamp.com/album/garage-rock-masterpiece-theatre-mixtape" target="_blank"><em>Garage Rock Masterpiece Theatre</em></a>. Disclaimer - although I am proud of all these works, I automatically disqualify any music I have any part in making. It would be a little too egocentric and self-serving. </p>
<p>It was difficult to narrow down my list to just ten records. I fretted and weighed the albums by my personal taste and enjoyment and what I saw as the artistic merit of the work. I also have a soft spot for the overlooked and under-rated. I did not consult the lists of the major musical press outlets. I hope you find a surprise or two and explore those records. Albums by the Struts, Green Day, the Beths and the Dirty Knobs all were close contenders, but did not make the final cut. After much internal debate, my favorite albums of 2020 are:</p>
<h4 style="text-align: center;"><span class="font_large"><strong>10. Echosmith – <em>Lonely Generation </em></strong></span></h4>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/69cfc2ec634ec748829604e364328660af37d542/original/lonelygeneration.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></p>
<p>Early in 2020, the Echosmith siblings released a fantastic indie electronic pop album. It has been seven years since their debut and last full-length album, but they have only gotten better. “Love You Better,” “Diamonds” and “Shut Up and Kiss Me” are irresistible pop jams. “Follow You” and “Everyone Cries” are ballads that show a young, but experienced band bringing new levels of emotional depth to its music. Don’t knock it until you give the record a listen. </p>
<h4 style="text-align: center;">
<span class="font_large"><strong>9. Paul McCartney – <em>McCartney III </em></strong></span> </h4>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/34e61f418f3d66be31f8dfc274078beb5d48a42e/original/mccartneyiii.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p>Maybe it is too soon for me to judge this album since it arrived with only two weeks left in 2020? Admittedly, I have not had the same amount of time with this record as I have with others on this list. The <em>McCartney</em> series is now a trilogy. Each prior volume is important in examining McCartney as an artist and innovator. The <em>McCartney</em> records are Paul, unquestionably one of the best pop songwriters ever, left alone and chasing the muse. <em>McCartney I & II</em> were panned upon their initial releases, but over time have grown in appreciation and acclaim. It is important to note the historical global moment that led to the album’s recording. Paul was left with cancelled gigs and sweet sweet time. Time that he used to hunt down his unfinished ideas and song fragments, turning them into complete and fully realized songs. While in “rockdown” with <em>McCartney III</em>, Paul builds another special McCartney world filled with folk songs, instrumental experiments and rockers. The music brings comform with its homespun charm. </p>
<h4 style="text-align: center;"><span class="font_large"><strong>8. Waxahatchee – <em>Saint Cloud </em></strong></span></h4>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/ce562a1a5692d0ab32f66f7eee8b0088c9a24f5a/original/st-cloud.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p>Waxahatchee’s <em>Saint Cloud</em> is a vibey collection of slow-grooving singer-songwriter jams (“Fire”, “Oxbow”) mixed with Tom Petty-esque Americana songs (just sung by a woman i.e. “Can’t Do Much,” “The Eye”, “Witches”). The vulnerability of the music is enhanced by stacked harmony vocals. The songs are tied together by lyrical motifs of “addition and codependence,” but the music skillfully drives on without getting trapped in a rabbit hole of sadness. All and all, the album is well constructed and can be listened to without skipping a song. </p>
<h4 style="text-align: center;"><span class="font_large"><strong>7. Soccer Mommy – <em>color theory</em> </strong></span></h4>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/019d6827b4997cd7748535d70146185689b10fce/original/colortheory.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p>Soccer Mommy’s breakthrough album, <em>Clean</em>, made my 2018 favorite album list. With <em>color theory</em>, singer-songwriter Sophie Allison continues to be every bit as compelling by not repeating herself. <em>color theory</em> is more mellow, brooding and beautiful. Although recorded and released before the world shut down, the record is perfect music for a brief existential spiral during a pandemic quarantine. There are no tracks to skip here, but standout favorites were “circle the drain” and “yellow is the color of her eyes.” </p>
<h4 style="text-align: center;"><span class="font_large"><strong>6. Deep Purple – <em>Whoosh! </em></strong></span></h4>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/8972153ef6bfd672b022a803ff4990092a0590fc/original/whoosh.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p>Deep Purple continue to be a gold standard for guitar-driven classic rock excellence. Working with legendary producer Bob Ezrin (their third album with him in seven years), the band continues to jam on and deliver the goods. The musicianship is always tight and alive. Ian Gillan may not unleash his howl like he did on <em>Deep Purple In Rock</em>, but at age 75, he is still an excellent singer and engaging lyricist (special shout out to the track “Nothing At All.”) Every album may be their last, but perhaps knowing that drives the group to avoid ending their 50 plus year legacy on a dud. If <em>Whoosh! </em>is the last Deep Purple album, then the choice to possibly symbolically rerecord “And the Address,” the instrumental opening track from their debut record, is extra poignant. Regardless, if you need some new classic rock don’t let this one “<em>whoosh!</em>” (sorry) on by. </p>
<h4 style="text-align: center;"><span class="font_large"><strong>5. Fiona Apple – <em>Fetch The Bolt Cutters </em></strong></span></h4>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/ef879fb13fd527b4f6dcefc245034148eff6bf6e/original/fetchthebolt-sl1125.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p>The press figured out that this record was pretty special from the moment it arrived this spring. The glowing reviews are deserved. <em>Fetch The Bolt Cutters </em>does not sound like anything else. Yes, it is definitely a singer-songwriter album, but its identity shifts back and forth while somehow feeling unified. It is at times a vulnerable confession (“I Want You To Love Me”) and other times it hits like a chair over the head (“For Her”). All and all, this collection is packed with gems – “Under The Table,” “Ladies” and “Heavy Balloon” just to name a few. </p>
<h4 style="text-align: center;"><span class="font_large"><strong>4. The Killers – <em>Imploding The Mirage </em></strong></span></h4>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/af95950e53642086970b9a46abbbcbab7d9fce66/original/implodingthemirage.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p>Out of nowhere the Killers made their best album in fifteen years. The stars aligned on <em>Imploding The Mirage </em>as the Killers delivered a stunning batch of songs that once again combined the sonic textures of dancey electronic rock with 1980s Bruce Springsteen storytelling. This album feels like classic Killers without being a rehash. Is this beginning of a creative renaissance for the band? Tracks like “My Own Soul’s Warning,” “Dying Breed” and the title track give one hope. </p>
<h4 style="text-align: center;"><span class="font_large"><strong>3. Destroyer – <em>Have We Met </em></strong></span></h4>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/c13b67b3cb53c16363a7eabd07126b39ff351cc5/original/have-we-met.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p>Destroyer’s <em>Have We Met</em> is another example of a record where the band creates its own musical world. The album hypnotically flows in a river of synths, beats, quirky lyrics and vocals. It is both mellow and danceable. Put this album on, dim the lights and get lost in this record. Skip no tracks. </p>
<h4 style="text-align: center;"><span class="font_large"><strong>2. Bruce Springsteen – <em>Letter To You </em></strong></span></h4>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/0e31398816da3d6b36e8044dc8090c8c3333d1d1/original/lettertoyou.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p>Reasons that set this album up to be interesting include the following. Springsteen tracked this album live in the studio with the E Street Band. Bruce was inspired by the realization that he is the only living member of his high school band. Those “ghosts” are present in the newly written songs (“Ghosts,” “Letter to You” and “Last Man Standing”). Additionally, Springsteen revisits songs that date back to his first album, but were not included on his debut (“Janey Needs a Shooter,” “If I Was The Priest” and “Song For Orphans”). The new stuff sits well with the old. <em>Letter To You</em> is nothing short of a triumph. Also check out the <em>Letter To You</em> film that is streaming on Apple TV+. </p>
<h4 style="text-align: center;"><span class="font_large"><strong>1. Bob Dylan – <em>Rough and Rowdy Ways </em></strong></span></h4>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/e1b6bc0d571e062c49fcd4d2fc965b75522959e6/original/roughandrowdy.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><em>Rough and Rowdy Ways</em>’ first single “Murder Most Foul” gave the then 78 year old Bob Dylan his first ever #1 on the <em>Billboard</em> rock singles charts. It is funny that this mellow 17 minute epic centered around the JFK assassination was the song that earned him that achievement. Nonetheless, the tune proved that the master songwriter’s legendary lyrical skills were still sharp. "Murder Most Foul" was followed by the dream-like "I Contain Multitudes" and the bluesy "False Prophet." These lead singles alone were enough to give listeners hope that another masterpiece was on hand. When <em>Rough and Rowdy Ways</em> arrived, all was confirmed. The Nobel Prize winner had completed a spectacular collection that sits proudly next to his acclaimed late career records like <em>Time Out of Mind</em>, <em>Love & Theft </em>and <em>Modern Times</em>. The album, although brilliant, is not his most accessible work. Each track with its rich imagery and storytelling could be its own great American novel. "Goodbye Jimmy Reed" stomps along like 2020's version of "Rainy Day Women #12 & 35," but there is very little looking back musically. Dylan is always three moves ahead. When you view his catalogue, you can see the progression and the sonic connection between his more recent albums. However that is not his concern, Dylan is pushing forward. Ultimately in a year of so much turmoil, it was comforting to see a man who has been deservedly recognized as genius for over sixty years, create a new work of genius. The world is on fire, but Bob Dylan is still Dylan. Not that he cares, but he did not let us down. Take comfort in that. </p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/6051935
2019-12-30T16:49:41-05:00
2021-01-08T09:11:06-05:00
Favorite Albums of 2019
<p>It looks like another year has passed where I did not write any individual album reviews. Sorry about that. I did listen to a lot of music and I wrote a decent amount of it too. Often, I am discovering old music that I have not yet heard. For instance, I listened to a lot of Cheap Trick (going beyond the hits), Whitesnake (because it's an extension of Deep Purple), Lou Reed (some of the deep cut albums) and Peter Frampton (under-rated) and many more. I also relistened to the entire Bob Dylan official discography and the official bootleg series (and what I had of the unofficial ones). However, as is the tradition, these are the ten NEW albums that I found myself listening to again and again. The releases from 2019 that I enjoyed most were:</p>
<p><strong>1. Jenny Lewis – <em>On The Line </em></strong></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/0d8ef7745f3b4b0f2916dbcb43bc0f89474be192/original/jl-on-the-line.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>2. Jade Bird – <em>Jade Bird </em></strong></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/350c495e208842c438158a584d1786a0c4936fb3/original/jade-bird.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>3. Grace Potter – <em>Daylight </em></strong></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/f1997cbc0fcbdd2fec501c6957f99f8b969d73ef/original/grace-potter-daylight-cover-rgb.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>4. Duff McKagan – <em>Tenderness </em></strong></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/81ea9fb07276a00e0b272879f964393ae2436df9/original/duff-tenderness.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>5. Matt Maeson – <em>Bank on the Funeral </em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/a2083f5fdc617ed0ea700a267d7ec099c7861a4a/original/matt-maeson.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></em></strong></p>
<p><strong>6. The New Pornographers – <em>In the Morse Code of Break Lights </em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/23ad94774e42f31f8aa8393b6f4f57df7d6e577d/original/np-morris.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></em></strong></p>
<p><strong>7. Sleater-Kinney – <em>The Center Won’t Hold </em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/f0c4cae9414df1af004e7be5a1c2a2d493ea21d7/original/sleaterkinney-thecenter.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></em></strong></p>
<p><strong>8. White Reaper – <em>You Deserve Love </em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/05b2ede4eb9b0d00c645281caf348dcc4cccfffa/original/white-reaper-you-deserve-love-album-art-1566872784-compressed.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></em></strong></p>
<p><strong>9. The Cactus Blossom’s – <em>Easy Way </em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/e1d8bd09f5f39fec60537dd14504f1e58916f9c5/original/cactus-blossoms.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></em></strong></p>
<p><strong>10. Blink-182 – <em>NINE</em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/2fbaf4269257d4085c1e36d9a490df00a6bed16a/original/blink-9.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></em></strong></p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/5573466
2018-12-29T12:33:47-05:00
2018-12-29T13:26:38-05:00
Favorite Albums of 2018
<p>Remember when I used to write album reviews? Remember when I would write lengthy explanations as to why I chose things for my lists? Me too. Anyway, I lack the time to do that. This year is soon to be over. Before then, here is my list of 2018 records. These ones were the ones that kept me listening and inspired this past year: </p>
<p><strong>1. Paul McCartney – <em>Egypt Station </em></strong></p>
<p>Paul McCartney is one of the greatest of all time – if not the greatest. He is 76 years old. He has nothing left to prove. Yet, he chooses to give us an incredible new album, <em>Egypt Station</em>. </p>
<p>Favorite track: “I Don’t Know” </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/f56e51e6e50656f40151fd59dd9a0b266e330002/original/egypt.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>2. Frank Turner – <em>Be More Kind </em></strong></p>
<p>Frank Turner’s <em>Be More Kind </em>is powerful and thoughtful protest record. It takes on right-wing extremism and delivers a message in a very palatable way. At the center of this album, is Turner’s incredible songwriting. </p>
<p>Favorite track: “Make America Great Again” </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/493ddfdaaee8e994fd0f7e4d3ed9458f68a95c7f/original/turner-kind.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>3. The Fratellis – <em>In Your Sweet Time </em></strong></p>
<p>In 2007 (I think), the Fratellis had a song in an Apple commercial. Since then, the band’s career has cooled, at least in the US. This year’s <em>In Your Sweet Time </em>was never going to give us as any radio hits. Regardless, the hooks are there. It’s great power-pop from a forgotten corner of the rock music universe. </p>
<p>Favorite track: “Sugartown” </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/eec35d44dc9116a9af5128f26f64c76a65c03bfa/original/fratellis.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>4. Soccer Mommy – <em>Clean</em> </strong></p>
<p>Soccer Mommy is one of the new artists who I am most excited about this year. Her debut album <em>Clean</em> blends modern indie singer-songwriter vibes with nineties pop-rock sensibilities. It’s a record that keeps on giving the more you listen to it. </p>
<p>Favorite track: “Last Girl” </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/0b3afc154161870c6cf65f0f5b3801a6b73664a9/original/soccer-mommy-clean.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>5. MXPX – <em>MXPX</em> </strong></p>
<p>MXPX have largely stayed in the same vein of pop-punk for their career. Like the Ramones and AC/DC before them, they don’t vary the formula, but some records are inevitably better than others. This self-titled and crowd-funded collection is one of the band’s best and is their finest output since 2005’s <em>Panic</em>. There are a lot of annoying pop punk bands out there. MXPX is not one of them. <em>MXPX</em> is a manifesto of everything the band is and is a gift to their fans. It’s great. </p>
<p>Favorite track: “Let’s Ride” </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/3b54f56f47935c12d7d74031c5fe9c03f7153a12/original/mxpx-album.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>6. Brian Fallon – <em>Sleepwalkers</em> </strong></p>
<p>Springsteen disciple Brian Fallon’s second solo record finds him exploring a more Motown-influenced sound. It hits hard, but also grooves. Don’t worry; it works! </p>
<p>Favorite track: “Etta James” </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/b7ba5ceb2b8bc78233aabf3c7bfa9987623b89f5/original/fallon-sleep.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>7. Snail Mail – <em>Lush</em> </strong></p>
<p>Another new discovery for this year, Snail Mail’s debut album <em>Lush</em> combines elements of Nirvana-esque grunge with reverbed-out post-punk. The album is both tough and vulnerable for the inner teenager in all of us. </p>
<p>Favorite track: “Full Control” </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/c526f429c66118baaac8dbe5ef8d365f8e0ec83c/original/snail-mail.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>8. Milo Greene – <em>Adult Contemporary </em> </strong></p>
<p>Milo Greene’s Adult Contemporary is interesting in that it blends elements of folky Americana with eighties Fleetwood Mac and <em>Vagabond Heart</em> era Rod Stewart. It’s the band’s third album and an all-round great listening experience. I recommend listening to it when traveling. </p>
<p>Favorite track: “Young at Heart” </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/bd00c1b7f88dca05b2a95003fa21c7a52c61c4a8/original/milo-adult.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>9. Roger Daltrey – <em>As Long As I Have You</em> </strong></p>
<p>In 1965, Roger Daltrey was fired from the Who for punching Keith Moon and flushing the band’s drugs down the toilet after the band performed an amphetamine-fueled mess of a concert. His plan was to start a soul band. Before those plans were fully realized, he was rehired and the rest is history. However, on his new solo record, we get to hear Daltrey sing kind of soul music that he dug as a teenager. Daltrey is primarily and interpreter of other people’s songwriting and such is the case on <em>As Long As I Have You</em>. Daltrey, having had vocal surgery in recent years, has his voice back. It’s great to hear him sing with such power. Plus, Pete Townshend guests on a few songs, adding some extra guitar firepower. </p>
<p>Favorite track: “How Far” </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/eb0304b37cbe1df6a71718a9491b2e27696dc107/original/daltrey.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
<p><strong>10. Ace Frehley – <em>Spaceman</em> </strong></p>
<p>My judgment is not clouded. This album rocks. Ace is not going to give Bob Dylan caliber lyrics, but the songs feel good. They have hooks and Ace’s guitar playing is so so sweet. It reminds you why and how he inspired an entire generation of guitarists. It also proves he’s still got it. Enough said. </p>
<p>Favorite track: “Rockin’ With the Boys”</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/e5f52a05e8b04e900a803cf3a373545c9123b02c/original/ace.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/5010756
2018-01-06T19:22:03-05:00
2021-05-06T11:54:47-04:00
Best Albums of 2017
<p><strong>1. Roger Waters – <em>Is This The Life We Really Want?</em></strong> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/7b189a972c5dbb992fd495f5ee85e3f652175262/medium/roger-waters.jpeg" class="size_m justify_center border_" /></p>
<p>It has been 25 years since the last proper Roger Waters' solo album. <em>Is This The Life We Really Want?</em> is Waters' greatest work since Pink Floyd’s <em>The Wall</em>. Not only did he conjure up that classic Floyd sound, he made a concept record that starkly and poignantly captures the trauma and hypocrisy of the Trump-era. At age 74, Waters pulls no punches and proves that his artistic flame still brightly burns. </p>
<p>Essential tracks: “Smell the Roses”, “Déjà Vu”, and “Picture That” </p>
<p><strong>2. JD McPherson – <em>Undivided Heart & Soul</em></strong><em> </em></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/6aaaab04776f306906d280a5d097d0bf4767318a/medium/jd-mc.jpeg" class="size_m justify_center border_" /></p>
<p>With a sound that crosses throwback Eddie Cochran with modern garage rock, JD McPherson delivered a killer record that was both timeless and fresh sounding. <em>Undivided Heart & Soul</em> is loaded with sassy rockers like “Desperate Love,” “Style is a Losing Game” and the title track but also provides beautiful ballads like “Hunting For Sugar.” All in all, the album is 40 minutes of pure rock and roll delight. </p>
<p>Essential tracks: "Style is a Losing Game", "Under the Spell of City Lights" & "Hunting for Sugar"</p>
<p><strong>3. J. Roddy Walston & the Business – <em>Destroyers of the Soft Life</em> </strong></p>
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/b81cf20689f14494708e4e1b67337eab3607f873/medium/j-roddy.jpeg" class="size_m justify_center border_" /></strong></p>
<p>J. Roddy and Co. accomplished a tricky thing this past year. With <em>Destroyers of the Soft Life</em>, they expand beyond the Jerry Lee Lewis meets Black Keys and Zeppelin vibes of their first three albums to deliver an album with a more modern commercial shimmer. It’s done so tastefully that it feels like a natural progression as the band eyes a wider audience. Like Nirvana, underneath the music’s gritty rockness are great songs with big pop hooks. Don’t miss out on this band or album. </p>
<p><strong>4. Foo Fighters – <em>Concrete and Gold </em></strong></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/2181ab2434fe1424c8b5aa0638d67c03d35c4544/medium/foos-concrete.jpeg" class="size_m justify_center border_" /></p>
<p>The Foos decided to mix things up this go round and teamed up pop producer Greg Kurtstin. <em>Concrete and Gold</em> is a heavy record but also very melodic. It is politically aware, but at the same time still fun. Further, it is also one of the band’s most consistent albums. Besides 2011’s <em>Wasting Light</em>, <em>Concrete and Gold</em> is the best Foo Fighters album of the 21st century. Lastly, there are a number of music superstar cameos tastefully sprinkled throughout the music. Go listen and see if you can figure out who and where they are! </p>
<p>Essential tracks: “La Dee Dah”, “The Sky is a Neighborhood” and “Sunday Rain.” </p>
<p><strong>5. John Mark McMillan – <em>Mercury & Lightening </em></strong></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/a2bbce604189ce8fdda031c52746979665d2b38c/medium/jmm.jpeg" class="size_m justify_center border_" /></p>
<p>In <em>Mercury & Lightening</em>, John Mark McMillan looks at the modern world and sees all the reasons why he should be jaded. However, throughout the album’s journey, he does not give into despair. He fights back and presents a stellar and uplifting collection of songs. Sonically, the album blends ambient modern-indie pop production with vibes of Born in the USA-era Springsteen. All in all, <em>Mercury and Lightening</em> is thoughtful and compelling and should not be missed. </p>
<p>Essential tracks: “Mercury & Lightening” and “No Country” </p>
<p><strong>6. Queens of the Stone Age – <em>Villains </em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/6c212b1c4aa4bc9683ee29a51b1fa870b31ba13b/medium/qotsa.jpg" class="size_m justify_center border_" /></em></strong></p>
<p><em>Villains</em> somehow hits like a modernized quirky punkish dancing lovechild of late 70s Zeppelin and Bowie. The album doesn’t quit and that’s why it’s on this list. </p>
<p>Essential tracks: “Feet Don’t Fail Me”, “The Way You Used To” & “Head Like a Haunted House” </p>
<p><strong>7. Dan Auerbach – <em>Waiting on a Song </em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/640d30eb84bc5f5ee878a4d18d38bc504165bd15/medium/auerbach.jpeg" class="size_m justify_center border_" /></em></strong></p>
<p><em>Waiting on a Song</em> shows the Black Keys front man embracing a retro Nashville-tinged singer-songwriter sound. This album is fun, accessible and joyful. It goes down smoothly. </p>
<p>Essential tracks: “Waiting on a Song”, “Shine on Me,” & “Malibu Man” </p>
<p><strong>8. Death From Above 1979 – <em>Outrage! Is Now </em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/845000bac1af51a1fbbf6fdfef5232677e85205d/medium/death-from.jpg" class="size_m justify_center border_" /></em></strong></p>
<p>Loaded with big sludgy rock riffs, you can head bang to this album until your skull flies off. This album is lean and mean. Rock and roll is still alive and well! </p>
<p>Essential tracks: “Freeze Me”, “Caught Up,” & “Freeze Me” </p>
<p><strong>9. Deep Purple – <em>Infinite </em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/f16ed0fdeacd0ba9b60676446e71af345966703b/medium/dp-infinite.jpeg" class="size_m justify_center border_" /></em></strong></p>
<p>Yes, there is a new Deep Purple record. Yes, they have actually been regularly releasing great new music since the last time Ritchie Blackmore quit the band back in 1993. The Bob Ezrin produced <em>Infinite</em> has that Deep Purple signature sound complete with stellar guitar riffs and blazing organ solos. Sure, Ian Gillan’s voice has changed a bit as he has aged, but he still sings with conviction and delivers the goods. </p>
<p>Essential tracks: “Hip Boots” and “One Night in Vegas” </p>
<p><strong>10. Blondie – <em>Pollinator </em></strong></p>
<p><strong><em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/10d3f0b4e39f73cd49eae29b038907fa255cb67c/medium/blondie.jpeg" class="size_m justify_center border_" /></em></strong></p>
<p>The cool thing about this album is that it is both new wave and modern. The Blondie sound is something that has always evolved. Like the new Deep Purple album, for most people, this album slipped through the cracks, but Blondie made a record that can stand proudly next to their best work. Tracks like “Doom or Destiny”, “Long Time” and “Gravity” kick ass. And like Ian Gillan, Debbie Harry’s voice has changed a bit with age, she has still got her edge. I hope they don’t retire just yet! </p>
<p>Essential tracks: “Doom or Destiny,” “Long Time” and “Gravity”</p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/4923662
2017-11-07T22:23:07-05:00
2020-12-19T08:52:43-05:00
Music For Marching
<p><iframe allowtransparency="true" frameborder="0" height="380" src="https://open.spotify.com/embed/user/1210507344/playlist/1A0w3n0rTXqxLTBojnZawP" width="300"></iframe></p>
<p>My new record <em>Love Under Fire</em> was made so that people could have modern fight songs during these trying political times. I have always been a person who enjoyed 1960s and 70s rock. From that era, there are plenty of iconic protest songs that radiate relevantly today. Songs like Buffalo Springfield’s “For What It’s Worth” and Edwin Starr’s “War” were influential and inspired me while writing and recording this new EP. However, this playlist is not about the past. This playlist features only songs from <em>Love Under Fire</em> and protest songs that are from the twenty-first century. Rock musicians still write songs that reflect the current climate. Although the genre may not seem as popular as it once was, it is still very much alive and able to deliver powerful social commentary. Here’s what I’ve included: </p>
<p>Green Day “American Idiot” – Written during the George W. Bush years, this 2004 classic was immediately a relevant rallying cry post-election. I still don’t want to be an American idiot. </p>
<p>Foo Fighters “La Dee Da” - This track came out this September and it is an inspired critique of Trump’s divisive rhetoric, calling it the “American ruse” and following it with a chorus: “Hate – if I want to. Love – who I like.” </p>
<p>John Mark McMillan “No Country” – My friend John Mark released this as a single shortly after the election. Overall the song is a powerful reflection on disillusionment, values and a quest for understanding where he fits in this modern American setting. </p>
<p>Drive By Truckers “What It Means” – This subdued Americana track has a voice of an outsider validating the message of the Black Lives Matter movement. It is a thoughtful and poignant ballad and gets right down to what many people feel whenever there is another unjust killing by the police. </p>
<p>Prophets of Rage “Unfuck the World” – This super group is made up of members of Rage Against the Machine, Cypress Hill and Public Enemy. The political angst is there in the chorus of: “No hatred. Fuck racists. Blank faces. Time's hangin' <br>one nation unification the vibration unfuck the world!” This blunt anthem of truth pulls no punches. </p>
<p>Lenny Kravitz “Love Revolution” – Lenny Kravitz was definitely channeling 1960s and 70s protest music when he penned this rocker. He released the track in 2008 during the George W. Bush years, but the songs call for a “love revolution” during war torn times is always valid. </p>
<p>Blink-182 “Anthem Part 2” – This song came out in 2001 before 9/11. However, I heard a band play it this past January following the Trump inauguration and the lyrics felt incredibly relevant. It warns of political agendas of corporations and politicians and carries of a message of not being silent.</p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/4532375
2016-12-31T18:05:49-05:00
2016-12-31T20:52:07-05:00
Best Albums of 2016
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/7db8826a7ded248dc9b4865d176f8a3426b05b52/medium/bowie.jpg?1483225210" class="size_m justify_center border_" />1. David Bowie - <em>Blackstar</em> </strong><br> <br>Two days before he died, David Bowie left his fans with one doozy of a parting gift. <em>Blackstar</em> is a masterpiece that shows that even in death this icon was still pushing boundaries and finding ways to surprise, challenge and delight his audience. From front to back, this album is worth multiple listens. <br> <br><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/915d95509d0234528d814e9c32276bebd7d42d58/medium/greenday-revolution.jpg?1483225209" class="size_m justify_center border_" /><br>2. Green Day – <em>Revolution Radio </em></strong><br> <br>Forever youthful, Green Day made the record we needed in 2016. It’s an honest portrait of the struggles facing this world and call to action. They know to make politics catchy, but also can deliver power-pop gems like “Youngblood.” There is not a dud on this album. <br> <br><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/b0471052acea38eae8a15f59c14449d7d8952ce7/medium/friedberger.jpg?1483225209" class="size_m justify_center border_" /><br>3. Eleanor Friedberger – <em>New View </em></strong><br> <br>Eleanor Friedberger continues to be one of the most underrated lyricists around. Her third solo album expands upon the ground of 2013’s <em>Personal Record</em>. She mixes in more flavors of early 70s Dylan and it works. “Sweetest Girl” and “Cathy With the Curly Hair” are simply excellent. <br> <br><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/87fb2c2286a6b62233f1b04fe793e86824a32726/medium/weezer.jpg?1483225209" class="size_m justify_center border_" /><br>4. Weezer – <em>Weezer</em> (White Album) </strong><br> <br>On the band’s tenth album, Weezer capture the joy of awkward young love. The album’s huge choruses sound both distinctively Weezer and fresh. Songs like “California Kids,” “Thank God For Girls,” and “King of the World” stand proudly with the band’s best work. <br> <br><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/c3edf9a4cd000258197547ae9c2aafbe6277bd74/medium/a1r4m8utp7l-sl1500.jpg?1466547781" class="size_m justify_center border_" /><br>5. Eric Clapton – <em>I Still Do </em></strong><br> <br>Despite fighting a neurological illness that make playing guitar difficult, Slowhand released a stellar blues-rock jewel of an album. Read the full RCB <a contents="review here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/clapton-still-does" target="_blank">review here</a>. <br> <br><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/61158d3792fee2f00658de8f4faa155b5a074a29/medium/thermals.jpg?1483225208" class="size_m justify_center border_" /><br>6. The Thermals – <em>We Disappear </em></strong><br> <br>The Thermals continue to be one of the most consistent and underrated punk bands around. The band does not stray from the formula of their earlier albums and that is totally fine. The Thermals are fierce and so is this record. Don’t miss out on great songs like “Thinking of You” and “My Heart Went Cold”. <br> <br><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/696847e434fdf9ae762acd2c64722ac9459520a8/medium/blink-california.jpg?1468262489" class="size_m justify_center border_" /><br>7. Blink-182 – <em>California</em> </strong><br> <br>A Tom DeLonge-less Blink-182 circled the wagons and made a sonic sequel to 2001’s Take Off Your Pants and Jacket. It’s not the deepest album of the year, but it sure is a lot of fun. Read the full RCB <a contents="review here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/blink-182-go-back-to-the-basics" target="_blank">review here</a>. <br> </p>
<p style="text-align: center;"><br><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/007be79e804922bd96cf95dc1e091b6ec08c05ba/medium/hardlove.jpg?1483225209" class="size_m justify_center border_" /></strong></p>
<p><strong>8. NEEDTOBREATHE – <em>HARD LOVE</em></strong><br> <br>Yes, I spent three months hearing this material played live over and over while traveling with them on the Tour De Compadres this fall, but this genre-bending album rocks. It fuses newer pop textures with old school rock, soul and Americana. The title track and songs like “Great Night,” “Money & Fame” and “Let’s Stay Home Tonight” anchor this album as one of the year’s best. <br> <br><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/6bb0c3f53e59bf6dd7887bb0cfea8cee5a5672d1/medium/painkillers.jpg?1483225205" class="size_m justify_center border_" /><br>9. Brian Fallon – <em>Painkillers</em> </strong><br> <br>The Gaslight Anthem frontman’s solo album continues his exploration of neo-Springsteen rock. Fallon is a great excellent songwriter and lyricist who wears his influences on his sleeve. Highlights include the title track, “Wonderful Life” and “Mojo Hand.” <br> <br><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/16/1ffc146101d384bb5ee2a2b6899a17b53c100d02/medium/rollingstone.jpg?1483225205" class="size_m justify_center border_" /><br>10. Rolling Stones –<em> Blue & Lonesome </em></strong><br> <br>Any new material from the Stones is welcomed. On <em>Blue & Lonesome, </em>the guys get back to the music that first brought them together. Take this gift and be grateful. <br> <br> <br> </p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/4396105
2016-09-29T13:25:17-04:00
2017-01-14T14:10:29-05:00
Chestertons Release New Single “Heaven”
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/dc651888cd9721a51f3b89686f3fa8b06f0bf353/medium/14463125-10207631068069846-5838355659515717096-n.jpg?1475169874" class="size_m justify_center border_" /><br>Cleveland’s Chestertons have dropped a new jam, “Heaven,” from their forthcoming EP. The song begins with an ambient arena rock guitar build that recalls bands like U2 and Angels & Airwaves. However, as soon Kevin Bianchi’s beautiful vocal kicks in, you know that you’re listening to something distinctive and different. The song shifts into a driving and memorable chorus that asks: “Do you know what it’s like to be recklessly loved?” “Heaven” is accessible and likeable on the first the listen. If the Chestertons keep up this kind of momentum on the rest of the EP, we’re all in for a treat. You can hear the song by clicking <a contents="here" data-link-label="" data-link-type="url" href="https://soundcloud.com/thechestertons/heaven" target="_blank">here</a>. </p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/4392933
2016-09-27T16:27:29-04:00
2022-05-10T14:30:13-04:00
Out of the Shadows . . .
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/630c654b8c4bc5accb69e13894475358abdc9f6c/medium/13103331-608105739353086-221553782631720503-n.jpg?1475008022" class="size_m justify_center border_" />Meet the Shadow Division, the four-piece rock outfit based out of Cleveland, OH featuring: Max Espinosa (vocals and guitar), Michael Ridley (guitar), Joe LaGuardia (bass) and Kevin Hannah (drums). On their self-titled debut EP, the band weaves a sonic tapestry that fuses the best elements of 80s and 90s alternative, 2000s indie and modern punk. Think of bands like the Explosion, U2 and Midtown mixed together with a hint of Taking Back Sunday (minus the screaming). Shadow Division’s songs have heavy hooks, pop sensibilities and well-crafted lyrics that balance between themes of angst and vulnerability. The group worked with producer Jim Stewart, and each track cuts through with a crisp excitement and urgency. Honestly, the EP flows from front to back without a dud in the batch. It’s a promising debut by a band with ambition and potential for great things. Check this record out and catch them in the clubs of Cleveland and beyond . . .</p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/4273570
2016-07-11T14:42:20-04:00
2021-01-20T02:02:01-05:00
Blink-182 Go Back to the Basics
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/696847e434fdf9ae762acd2c64722ac9459520a8/medium/blink-california.jpg?1468262489" class="size_m justify_center border_" /><br>With <em>California</em>, we have a rebooted Blink-182 deciding how to carry on after parting ways with co-lead-singer and guitarist Tom DeLonge. In many ways the album is very nostalgic and plays heavily to the music of the band’s <em>Enema of the State</em> and <em>Take Off Your Pants and Jacket </em>commercial glory days. However, do not be critical of this choice. The band is refinding its footing by going back to the sound that first made kids love them. <em>California</em> is an album made with an eye on the fans. Mark Hoppus, Travis Barker and new member Matt Skiba (of Alkaline Trio-fame) knew that this album would be scrutinized to death, especially given the absence of DeLonge. Teaming with producer John Feldmann, they circled the wagons and delivered the most Blinky-sounding Blink-182 album they could muster. This concept may drive some cynicism among listeners. Fans will miss the Mark Hoppus-Tom DeLonge back and forth vocal deliveries, but when you focus on the songs, you realize that this record sounds like the Blink-182 that made you want to fall in love with the girl at the rock show. Also, Matt Skiba is no slouch. He may not have been the immediate obvious choice for a replacement for DeLonge, but he’s a pretty solid “step-dad” and shares similar musical roots to Barker and Hoppus. Skiba fills the DeLonge roll guitar-wise, but he sings like Matt Skiba. <br> <br>Kick back and enjoy the early-2000’s throwback sounds of “She’s Out of Her Mind,” “Kings of the Weekend,” “No Future” and the lead single “Bored to Death.” The album hits a few less inspiring moments with “Rabbit Hole,” “Home Is Such a Lonely Place” and the title track. Goofy mini-tracks like “Built This Pool” and “Brohemian Rhapsody” recall the sophomoric charm of old-school Blink-182. Keep an open mind. There is plenty of summer fun to be found on this record. <br> <br>Essential tracks: “Bored to Death,” “She’s Out of Her Mind,” & “Kings of the Weekend.” <br> <br> </p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/4242184
2016-06-22T00:25:29-04:00
2021-02-11T01:57:06-05:00
Tegan and Sara - Love You To Death
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/130b84041ba207f58f910034272e70ba5c166912/medium/71kgulo9vml-sl1200.jpg?1466569293" class="size_m justify_center border_" /><br>Having reached a new level of commercial success on 2013's <em>Heartthrob</em>, Tegan and Sara continue in the same indie pop vein with their latest effort, <em>Love You To Death</em>. However, the follow up is not as compelling. <em>LYTD</em> is certainly not bad, but when held up against its predecessor and masterpieces like <em>So Jealous</em> and <em>The Con</em>, <em>LYTD</em>’s limitations show. There are solid songs like “Faint of Heart” with its big eighties pop chorus, also the anthemic "Stop Desire" as well as the harshly honest ballad “100x.” Yet, <em>LYTD</em> lacks a monster single like “Closer” (from <em>Heartthrob</em>). “Closer” was infectious but had an explosive emotional weight that made it great. Further, Tegan and Sara up until this point have always been a band that always moved forward and evolved with each release. Each album was united by similar lyrical themes, but the production style shifted. <em>LYTD</em> is less ambitious and feels more like they are treading water. Again, <em>LYTD </em>is not a bad album. Tegan and Sara are still a great band. It is just that they've been better.<br><br>Essential tracks: "Stop Desire," "100x" & "Faint of Heart."</p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/4241639
2016-06-21T18:26:43-04:00
2023-12-10T12:16:17-05:00
Clapton Still Does
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/c3edf9a4cd000258197547ae9c2aafbe6277bd74/medium/a1r4m8utp7l-sl1500.jpg?1466547781" class="size_m justify_center border_" /><br>At 71, Eric Clapton proves that he still has his fire. The icon's newest record, <em>I Still Do</em>, is a swampy and soulful blues journey that is arguably the man's finest album since his 2004 tribute to Robert Johnson, <em>Me and Mr. Johnson</em>. Although Clapton has admitted that a neurological disorder is making guitar playing more difficult for him, none of that shows as Old Slowhand gracefully feels his way through a collection of originals and covers. <em> I Still Do</em> is produced by the legendary Glyn Johns who helmed Clapton’s 1970s classics <em>Slowhand </em>and <em>Backless</em>, which contain some of Clapton’s biggest hits. <br> <br><em>I Still Do</em> does not have any real duds. There are some more forgettable tracks like Clapton’s “Catch the Blues” and “Little Man, You’ve Had a Busy Day.” However, they do not detract from the overall listening experience. Clapton really grooves on his covers of JJ Cale’s “Can’t Let You Do It” and “Somebody's Knocking'”. “I Will Be There” features Ed Sheeran (credited as Angelo Mysterioso, a pseudonym first employed by George Harrison when he guested with Clapton’s band Cream in 1968). Other standouts are his take on Dylan’s “I Dreamed I Saw St. Augustine,” Robert Johnson’s “Stones In My Passing” and the opener “Alabama Women.” <br> <br>On his original “Spiral” he sings: “You don't know how much this means to have this music in me. I just keep playing these blues hoping that I don't lose. I just keep playing my song hoping that I get along. You don't know how much it means to have this music in me.” On <em>I Still Do</em>, these words are especially poignant. The bluesman sounds inspired. Despite Clapton’s physical ailments, the guitarist says he is not done. Let’s hope so. <br><br>Essential tracks: "Can't Let You Do It", "Somebody Knockin'", "Spiral" and "Stones In My Passing."<br> </p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/4019103
2016-02-01T16:33:38-05:00
2020-12-19T08:50:58-05:00
Rocky Return of P!ATD
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/16b4543ee28d0e06d528ecb779aaeaab0e0e9c47/medium/panicdeath.jpg?1454362344" class="size_m justify_center border_" /><br>Brendan Urie is a great vocalist and front man. He is the sole remaining original Panic! member and has been dutifully keeping the brand alive by delivering inspired live shows and a steady flow of new music. However, in a nutshell, the new Panic! At The Disco album, <em>Death Of A Bachelor</em>, is cripplingly uneven. The greatest flaw of the album is that the albums worst songs all hit at the beginning of the album. “Victorious,” “Don’t Threaten Me With A Good Time,” and “Emperor’s New Clothes” come off as substance-lacking Fall Out Boy throwaways. “Hallelujah” is the exception to this on the album’s opening with its sampling of Chicago “Questions 67 and 68” and catchy chorus. So if you wade through the garbage at the front of the album, you actually hit some good stuff. <br> <br>Urie’s love of Sinatra is a good thing. He lets that flag fly on the album’s title track as well as on the closer “The Impossible Year.” Then, you also get your more traditional Panic! songs with fun jams like “LA Devotee,” “Golden Days,” “House of Memories” and “The Good, The Bad And The Dirty.” It’s in these songs that the merit of <em>Death Of A Bachelor</em> comes through. This album is probably the band’s least compelling album, but there are enough redeeming moments for us to not write Urie and Co. off. <br> <br>Essential tracks: “Golden Days,” “Hallelujah,” and “House of Memories.”</p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/3984602
2016-01-11T19:52:43-05:00
2017-01-14T14:10:28-05:00
5 Under-rated Bowie Deep Cuts
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/16/4d1075c94026f166c7c01fc92272254844a95533/original/bowier.jpg?1452559873" class="size_l justify_center border_" /><br>I have not felt this bad about a legend passing since Lou Reed left us. Today I have had nothing, but David Bowie on my mind. I’ve eulogized about him on Facebook and been listening to him constantly on Spotify today. Here are five Bowie deep tracks that you should check out as you explore his rich and inspiring catalogue. I’ve avoided tracks included on the greatest hits compilations <em>Nothing Has Changed</em> and <em>Best of Bowie</em>. I’ll go chronologically. A Spotify playlist of the tracks can be accessed <a contents="by clicking here" data-link-label="" data-link-type="url" href="https://open.spotify.com/user/1210507344/playlist/6Mnr1Ruaa1B2OG5lXiU5qc" target="_blank">by clicking here</a>: <br> <br><strong>“And I Say To Myself” (1966) </strong><br> <br>“And I Say To Myself” was one of Bowie’s early singles pre-Ziggy. It’s now featured on the collection<em> I Dig Everything the 1966 Pye Singles</em>. He had not quite yet found his voice as a songwriter when he recorded this, but this track is a delight. It blends a little bit of Sam Cooke with the Beatle-tinged tones of the British Invasion. <br> <br><strong>“Queen Bitch” (1971) </strong><br> <br>This gem is tucked towards the end of <em>Hunky Dory</em>. It’s got bite to it and shows Bowie’s movement towards glam-rock as well as the influence of Lou Reed and the Velvet Underground. <br> <br><strong>“TVC15” (1976) </strong><br> <br>“TVC15” track comes from Bowie’s Thin White Duke era and is featured on the funk-infused <em>Station to Station</em> album. It’s a great dance track that shows that Bowie was far beyond glam and finding new sounds. <br> <br><strong>“Cactus” (2002) </strong><br> <br>This Pixies cover is off of <em>Heathen</em>. It’s got a groove and Bowie’s vocal is compelling delivered. Just great. <br> <br><strong>“Never Get Old” (2003) </strong><br> <br>“Never Get Old,” from <em>Reality</em>, was played regularly on his 2003-2004 final tour. Its energy and fight are a testament that Bowie will never get old or be forgotten. His legacy is secure and his music makes him immortal.<br> <br>There are many more great songs for you to find on your own. Hopefully this gets you started and looking beyond the “hits.” <br> <br> </p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/3967736
2015-12-25T23:37:41-05:00
2017-01-14T14:10:28-05:00
The Best Albums of 2015
<p><strong>1. Sleater-Kinney – <em>No Cities To Love</em> </strong><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/57e164e840350c115e9b8d8234c2a4f3ee39a5b7/medium/sleater.jpg?1451103789" class="size_m justify_center border_" /> <br>For their first album in 10 years, Sleater-Kinney returned with a fierce pop-vengeance. Every track on this album is killer from the opener “Price Tag” to the closer “Fade.” <br> <br><strong>2. Carl Barat & the Jackals – <em>Let It Reign </em></strong><br> <br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/cdcbe18689bfc3df1b0651b27a6db44fcaa1639e/medium/carlbarat.jpg?1451103915" class="size_m justify_center border_" /><br>Carl Barat had a busy year. In addition to making an excellent reunion album with Libertines, he also put out <em>Let It Reign</em>. Although the Libertine’s disc got more press, <em>Let It Reign</em> is the better work. It blends punkish-Clash-inspired rock with garage-rock self-righteousness. Check it out and don’t miss “Glory Days” or “March of the Idols.” <br> <br><strong>3. Fall Out Boy – A<em>merican Beauty/American Psycho</em></strong><em> <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/ef920da9f89ce7ca5c2257c2d637331967e3ad24/medium/fobamerican.jpg?1426447210" class="size_m justify_center border_" /></em> <br>This band continues to evolve from emo heroes to arena rock superstars. Love them or hate them, they have never made the same album twice. Read the full RCB review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/another-beauty-from-fob" target="_blank">here</a>. <br> <br><strong>4. Florence + the Machine – <em>How Big, How Blue, How Beautiful <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/787141efb0b5d48ab7cbacb3c68fad7614ea6fec/medium/florence.jpg?1451104009" class="size_m justify_center border_" /></em></strong> <br>On her third album, Florence Welsh gets in touch with her inner Fleetwood Mac and the results are great. From “Ship to Wreck,” “What Kind of Man,” “Third Eye,” “Mother” . . . this album is packed with great songs and powerhouse vocal performance. <br> <br><strong>5. Grace Potter – <em>Midnight</em> <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/d019a4e00cb3736bbdeed2343085698ee71ddd90/medium/grace.jpg?0" class="size_m justify_center border_" /></strong> <br>Her solo debut ruffled some feathers as she explored a more pop-oriented sound and sidestepped from her usual classic-rock roots. However, haters need to get over it. Midnight is pretty damn great. “Your Girl” and “Empty Heart” are knockouts and the outro of “Delirious” shows why Grace Potter is the greatest current voice in rock and roll. <br> <br><strong>6. Mike Posner – <em>The Truth <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/ed15a94a41b6f31b5f352573f3fc122d77293cc1/medium/mikeptruth.jpg?1451104173" class="size_m justify_center border_" /></em></strong> <br>I try to stick to full-length albums for this list, but Mike Posner’s EP <em>The Truth</em> consisted of four pretty much perfect songs. The tracks are brash, personal, beautiful and really catchy. “Not That Simple” is one of the year’s best songs. <br> <br><strong>7. <em>New Politics – Vikings </em></strong><br> <br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/cb67eb383a657e4a145f1ffddca3c45136d07503/medium/a16-wb-5fol-sl1500.jpg?1451104254" class="size_m justify_center border_" /><br>This album is pure indie-rock fun. It’s a great album all around, but some standouts are “Everywhere I Go,” “Girl Crush” and “50 Feet Tall.” <br><br><strong>8. Motion City Soundtrack – <em>Panic Stations </em></strong><br> <br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/3431f2b277d1f6aefda2194fd16839e16b27f097/medium/81e2-u8uf-l-sl1425.jpg?0" class="size_m justify_center border_" /><br>It was looking like MCS peaked back in 2007 with <em>Even If It Kills Me</em>. 2010’s <em>My Dinosaur Life</em> was alright, but 2012’s <em>Go</em> was pretty darn forgettable. Although the bands’ days of greatest commercial success are probably behind them, their core fans should be pleased, because <em>Panic Stations</em> finds the band making its most compelling and rockin’ album in years. The boys are back! <br> <br><strong>9. Noel Gallagher’s High Flying Birds – <em>Chasing Yesterday </em></strong><br> <br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/9278987aa64260c03e188fb2f457d9496c1eb17d/medium/91zw8rxxgxl-sl1500.jpg?1451104376" class="size_m justify_center border_" /><br>Everyone’s favorite curmudgeon shows that he’s still got the chops that helped him write some of the biggest songs of the 90s. <em>Chasing Yesterday</em> blends his Oasis roots with his love of 60s pop. Check out the whole album, but “You Know We Can’t Go Back” is a track not to be missed. <br> <br><strong>10. Chris Stapleton – <em>Traveller</em> <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/daf5145e97e23e634ca26567a86d23c791266d53/medium/81er9qytg7l-sl1500.jpg?1451104432" class="size_m justify_center border_" /></strong> <br>Chris Stapleton has long been writing hits for some of country music’s biggest stars. His solo debut beautifully introduces us to the voice behind those songs. Even if you’re not really into country music, don’t write this guy off – <em>Traveller </em>is awesome. <br> <br> <br> </p>
Dan Miraldi
tag:danmiraldi.com,2005:Post/3951622
2015-12-05T17:36:28-05:00
2017-01-14T14:10:28-05:00
My Favorite Beatles Song From Every Album
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/e8a92f302e8dbf2cc2bca6153fd29f632ecee52f/original/2015thebeatles-1966-getty56217458180315-article-x4.jpg?1449354976" class="size_l justify_center border_" />For those of you who know me, you may know that the Beatles are my all-time favorite band. Their catalogue is a constant source of inspiration. I have made this little list of what is my favorite song off each album. It was actually <em>A Hard Day’s Night</em> where I had the greatest difficulty picking my favorite - all are so good. Anyway, as of this posting here is my favorite Beatles song off of each album (UK editions).<br> <br><em>Please Please Me </em>– “Please Please Me”<br><em>With the Beatles </em>– “It Won’t Be Long”<br><em>A Hard Day’s Night </em>– “I’ll Be Back”<br><em>Beatles For Sale </em>– “Every Little Thing”<br><em>Help </em>– “I’ve Just Seen A Face”<br><em>Rubber Soul</em> – “I’m Looking Through You”<br><em>Revolver</em> – “And Your Bird Can Sing”<br><em>Sgt. Pepper’s Lonely Hearts Club Band</em> – “Lovely Rita”<br><em>Magical Mystery Tour</em> – “Strawberry Fields”<br><em>The Beatles (White Album)</em> – “Everybody’s Got Something To Hide Except Me And My Monkey”<br><em>Let It Be</em> – “Let It Be”<br><em>Abbey Road</em> – “Something”<br> <br>Favorite non-album single – “Paperback Writer”<br> <br>There you have it! Feel free to comment back with your own list! - DM<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/3740189
2015-06-13T11:12:51-04:00
2017-01-14T14:10:28-05:00
Sticky Fingers Revisited – the 2015 Reissue!
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/a0395ef60564abc7aa2823248a193bed5ceb923c/medium/stickyfingers.jpg?1434208265" class="size_m justify_center border_" /><br><br>Everybody knows that <em>Sticky Fingers</em> is one of the all-time great rock and roll records. This past week, the album was reissued again, but this time with extras. So the million-dollar question is are the extras worth it?<br> <br>That depends – the recent Rolling Stones reissues of <em>Exile On Main St. </em>and <em>Some Girls</em> gave you a number of unheard songs, some of them with newly completed vocals from Mick Jagger and guitar from Mick Taylor. With <em>Sticky Fingers</em>, the band admits that they already raided the cookie jar pretty heavily with the <em>Exile</em> reissue so there wasn’t as much left when they went back for this one. Therefore, the extras of the “Deluxe Version” hinge on five alternate takes and five live cuts. The first is an alternate version of “Brown Sugar” with Eric Clapton on slide guitar. It’s pretty cool for historical reasons and has a good edgy feel. “Wild Horses” lacks the electric leads and Keith’s harmonies and feels empty. “Can’t You Hear Me Knocking” captures the band figuring out the song. It’s pretty loose. The alternate take of “Bitch” has a lot of fight to it and Jagger sings some alternate lyrics. It is interesting to hear the song develop. Eventually the track comes to an abrupt ending. “Dead Flowers” sounds a little dirtier and is played a slightly faster than the final album version. However, none of the alternate takes surpass the versions that are on the final official album. They are fun, but not essential to the casual listener. <br> <br>The rest of the bonus disc features five <em>Sticky Fingers</em>-era live tracks from the Stones’ 1971 performance at the Roundhouse. The five songs, “Live With Me,” “Stray Cat Blues,” “Love In Vain,” “Midnight Rambler,” and “Honky Tonk Women” are cool gritty examples of the Stones’ live power, but none of these songs are actually tracks from <em>Sticky Fingers</em>. The fade-ins and outs show that these are clearly part of a longer concert. Why not include tracks from <em>Sticky Fingers</em>? <br> <br>Lastly, if you pick up the digital version of the “Super Deluxe” <em>Sticky Fingers</em> or paid $152.98 for the physical box set, you get a bonus disc of a 1971 full concert at the University of Leeds. The show features the Stones introducing the <em>Sticky Fingers</em> material to the crowd for the first time. It’s pretty great and is a more rewarding listen than the five alternate takes and five live cuts on the standard “Deluxe Version.”<br> <br><em>Sticky Fingers</em> is an undeniable classic and rock fans of all generations should be familiar with it. The question with the reissue is how much you want to invest in it. If you want the bonus material and don’t want to spend $152.98 on the box set, I would recommend buying the $19.99 digital version so that you get the University of Leeds live material. That is the way to maximize your "satisfaction." <br> <br>Essential Bonus Track: “Brown Sugar (feat. Eric Clapton)”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/3602484
2015-03-15T15:20:28-04:00
2021-11-13T16:15:26-05:00
Another Beauty From FOB . . .
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/ef920da9f89ce7ca5c2257c2d637331967e3ad24/medium/fobamerican.jpg?1426447210" class="size_m justify_center border_" /><br>On the band’s second post-hiatus album, <em>American Beauty/American Psycho</em>, Fall Out Boy prove that they are still one of the boldest pop-rock bands around. This year marks the tenth anniversary of FOB’s commercial breakthrough <em>From Under the Cork Tree</em>. It would be easy for the band to rehash the past and do anniversary tour for that album. That is not the band’s style. They don’t need to. They are still a vibrant and commercially-successful musical outfit cranking out hits. As always, they never make the same album twice – yet anchored by Patrick Stump’s distinctive and soulful vocals and Pete Wentz’s clever lyrical wordplay, the band doesn’t lose touch. When you hear Fall Out Boy, you know it is them.<br> <br>Much of FOB’s new <em>American Beauty/American Psycho </em>centers around up-tempo arena jams that are sure to be blasted at sporting events for the next couple years. “Centuries” is a prime example. It was the album’s first single and has been used heavily on ESPN. “Irresistible” and “Immortals” play into the same themes. However, the real standouts on this album are the title track, “Novicane” and “Uma Thurman.” “Uma Thurman” is a lot of fun and even makes a sample of the Munster’s surfy theme song sound pretty badass. Meanwhile, “American Beauty/American Pyscho” and “Novicane” are pure adrenaline dance parties. With an album that fixates on high-energy stadium rockers, the quieter moments (“The Kids Aren’t Alright” and “Jet Pack Blues”) are refreshing and welcome as well. <br> <br>At this point in their career, FOB is still as brash and bold as they were when they first rose to popularity. They are not afraid to embrace arena pop-rock and they do it well. Haters are gonna hate, but <em>American Beauty/American Psycho</em> is a welcome addition to the FOB catalogue.<br> <br>Essential tracks: “American Beauty/American Psycho”, “Uma Thurman” & “The Kids Aren’t Alright”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/3535379
2015-02-16T21:08:15-05:00
2017-01-14T14:10:28-05:00
Shawn & Shelby's Sparse & Beautiful Debut
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/cf357a03964d604ba5edfefe7991e1c8879b4ccc/medium/shawnandshelbyep.jpg?1424138702" class="size_m justify_center border_" /><em>Sleeping In A Spell</em> is the beautiful debut release by Cleveland-based duo Shawn & Shelby a.k.a Shawn Brewster and Shelby Lynn Sangdahl. Many may already be familiar with the two’s work in their other band Oldboy. What is most notably different comparing Shawn & Shelby with Oldboy is the way the songs are arranged. <em>Sleeping In A Spell</em> is a much more sparse presentation of their music. In this new setting, the poetic elements of Brewster’s lyrics becomes a greater focal point. Meanwhile, Sangdahl’s cello playing tastefully adds dynamics and drama to each track. <br> <br>The record consists of six songs: five originals and a cover of Iron & Wine’s “Upward Over The Mountain.” They are all warmly, yet crisply engineered by Jim “The Wizard” Stewart. The opening track “Light” is one of Brewster’s prettiest melodies. “The Sound of Breathing” could have fit well with Springsteen’s material on the <em>Devils And Dust</em> album. <em>Sleeping In A Spell </em>is a consistently excellent EP. However, the crown jewel of the collection is “Speed of Night”. The song is both somber and exciting in its arrangement as Brewster’s guitar and voice musically converse back and forth with Sangdahl’s cello. The song’s lyrics are rich in their imagery. For example: “Sick of my sins. Sick of all these cities and these sidewalks paving over hell.” And: “Bend me back and forth like a wire. Watch me as I dance and shake like a liar." "Speed of Night's" lyrics offers many great lines that brew with harsh, but vulnerable sincerity. <br> <br>All in all, <em>Sleeping In A Spell </em>is a promising and compelling debut that highlights the musical chemistry between Shawn & Shelby. It is now being offered at a “pay what you want” price on the group’s <a contents="bandcamp" data-link-label="" data-link-type="url" href="https://shawnandshelbymusic.bandcamp.com/releases" target="_blank">bandcamp</a>, so check it out. If you’re looking for a soulful Americana record to listen to by the fire this ungodly cold February, this is it. Put it on. Open up that bottle of Malbec and let the winter winds howl.<br> <br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/3445972
2014-12-30T20:22:32-05:00
2017-01-14T14:10:28-05:00
The Best Records of 2014
Oh yeah – there was a lot to enjoy in 2014! Here are the records that excited me the most! <br>The Rolling Clone Blogazine’s Top 5 Records of 2014:<br> <ol> <li><strong>Weezer – <em>Everything Will Be Alright In The End</em></strong></li>
</ol><img src="//d10j3mvrs1suex.cloudfront.net/u/16/21a57bf12285c3924a5bd1e709c600c07b2300cd/medium/weezer.jpg?1414554462" class="size_m justify_center border_" /> <br>Weezer came back in a big way this year. <em>Everything Will Be Alright In The End</em> modernizes the band’s signature sound and is their strongest record of the twenty-first century. Read the RCB’s full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/weezer-makes-things-right" target="_blank">here</a>.<br> <ol> <li value="2"><strong>Jack White – <em>Lazaretto </em></strong></li>
</ol><img src="//d10j3mvrs1suex.cloudfront.net/u/16/1db599175d0c5f81d5216111ba6f7fc62ca3c73b/medium/lazaretto.jpg?1419988592" class="size_m justify_center border_" /> <br>Jack White’s second solo album continues to mash up the retro and the modern. On <em>Lazaretto</em>, he gets funky on songs like “Three Women” and the title track, channels the Stones on “Just One Drink” and goes into guitar hero mode on “High Ball Stepper”. It’s another perfect record from a true genius. <br> <ol> <li value="3"><strong>Against Me! – <em>Transgender Dysphoria Blues</em></strong></li>
</ol><img src="//d10j3mvrs1suex.cloudfront.net/u/16/a920c2cf448e0e8fcaa4761994cbe40a5ea8c359/medium/transgenderdysphoria.jpg?1419988651" class="size_m justify_center border_" /> <br>This is a genuinely kick-ass punk record that also addresses some very important social issues. Laura Jane Grace dug deep with these extremely personal songs. <em>Transgender Dysphoria Blues </em>is one in-your-face collection that cannot be ignored.<br> <ol> <li value="4"><strong>Sleeper Agent – <em>About Last Night</em></strong></li>
</ol><img src="//d10j3mvrs1suex.cloudfront.net/u/16/7894840fd2bf047d8f747c52c460ec78baf01e35/medium/sleeperagentabout.jpg?1419988714" class="size_m justify_center border_" /> <br>Sleeper Agent is one of the most under-rated indie rock bands. The band’s sophomore album shows their continued development with great tracks like “Be Brave” and “Impressed”. On <em>About Last Night</em>, Sleeper Agent deliver great songs that are also very catchy and fun.<br> <ol> <li value="5"><strong>The Strypes – <em>Snapshot </em></strong></li>
</ol><img src="//d10j3mvrs1suex.cloudfront.net/u/16/1730bad8915282803205bdd4d44117320935e3af/medium/strypessnapshot.jpg?1419988804" class="size_m justify_center border_" /> <br>Fusing the best aspects of the Yardbirds with the Arctic Monkeys, the Strypes’ debut is a rockin’ good time. The teenage band sounds amazingly seasoned. They have the potential to be real contenders in the rock world. If you missed this record, check out “I’m A Hog For You Baby” and try not to dance. I dare you.<br> <br>The Honorable Mentions:<br> <ol> <li value="6"><strong>U2 – <em>Songs of Innocence</em></strong></li>
</ol><img src="//d10j3mvrs1suex.cloudfront.net/u/16/40469d472697c9315fba4c60dc619bba38f14c69/medium/u2songsofinnocence.jpg?1412285574" class="size_m justify_center border_" /> <br>U2 made a lot of people mad when they suddenly appeared on their iPhones. However, if you ignore all the fuss and just focus on the music, <em>Songs of Innocence </em>is an excellent record that sits comfortably next to the band’s best work. Read the full RCB review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/u2-s-gift-horse-album" target="_blank">here</a>.<br> <ol> <li value="7"><strong>Candy Hearts – <em>All The Ways You Let Me Down</em></strong></li>
</ol> <img src="//d10j3mvrs1suex.cloudfront.net/u/16/cf9bb1f3f70efd3bc4c913061ce58b7fdb600773/medium/candyhearts.jpg?1403735941" class="size_m justify_center border_" /><br>The Candy Hearts recall the best parts of golden age of emo pop-punk. <em>All The Ways You Let Me Down</em> shows the band stepping up with its strongest release yet. Read the full-RCB review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/candy-hearts-sugar-sweet-pop-punk" target="_blank">here</a>.<br> <ol> <li value="8"><strong>5 Seconds of Summer – <em>5 Seconds of Summer</em></strong></li>
</ol> <img src="//d10j3mvrs1suex.cloudfront.net/u/16/897ab922e4ab3bf1e78f47c57d2afd26ae1ed350/medium/5-seconds.jpg?1419988892" class="size_m justify_center border_" /><br>I can see your eyes rolling, but here’s the thing – the songs on the band’s full-length debut are pretty much perfect. I am a little ashamed and want to dislike this band, but I cannot. They are too much fun. “She Looks So Perfect”, “Don’t Stop” and “End Up Here” are absolute modern power-pop bliss. Now you know my secret shame. In 2015, it is okay to like this band.<br> <ol> <li value="9"><strong>Black Keys – <em>Turn Blue</em></strong></li>
</ol><img src="//d10j3mvrs1suex.cloudfront.net/u/16/89c08de9e751ecf4a8bea5cd95c1483166cda671/medium/turnblueblackkeys.jpg?1412285560" class="size_m justify_center border_" /> <br>The Black Keys turned away from the arena dominating sound of <em>El Camino </em>for a more psychedelic slow-burning experience. It works. Check out the full RCB review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/the-black-keys-new-turn-blue" target="_blank">here</a>.<br> <ol> <li value="10"><strong>AC/DC – <em>Rock Or Bust </em></strong></li>
</ol><img src="//d10j3mvrs1suex.cloudfront.net/u/16/53614fff9b1120581811bf7ba78144ccc133f6a4/medium/rock-or-bust.jpg?1417670701" class="size_m justify_center border_" /> <br>In an age where EDM music and glossy over-produced soulless pop songs dominating the radio, AC/DC's unchanging rock and roll formula felt like fresh air. <em>Rock Or Bust </em>rocks. Read the full RCB review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/ac-dc-rock-or-bust-rocks" target="_blank">here</a>.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/3358784
2014-12-04T00:23:12-05:00
2021-04-03T09:15:57-04:00
AC/DC "Rock or Bust" Rocks
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/53614fff9b1120581811bf7ba78144ccc133f6a4/medium/rock-or-bust.jpg?1417670701" class="size_m justify_center border_" /><br>Throughout their 40-year career, AC/DC have never altered their signature sound. They have never apologized for not growing artistically. They have never written a ballad and for that, we salute them. There is something so inherently primal and blood boiling about their music. Even though one could argue that they are rehashing the same old themes and drum parts every time, their music is somehow still refreshing and hits you in the gut. With rhythm guitarist Malcolm Young retired and sadly battling dementia, the band carries on with <em>Rock or Bust </em>using Malcolm and Angus’s nephew Stevie to fill in. (Malcolm is credited as a co-writer, but does not play on any of the songs). Although Malcolm’s presence is surely missed by fans and the band, ten seconds into listening to the opening title track, it is clear that nothing has changed. The spark that is AC/DC continues to rock. Though most of the members of the band are in their sixties, the band sounds as fierce as ever as Angus and Stevie deliver riff after electrifying riff. Brian Johnson’s howl is intact too as he croons <em>double entendres</em> about sex, women and rock and roll. <em>Rock or Bust </em>is a good time from start to finish, but be sure to enjoy the title track, “Play Ball”, “Rock The Blues Away” and “Baptism By Fire”. 40 years ago, AC/DC discovered a magic musical formula that they never needed to change. <em>Because i</em><em>f it ain’t broken?</em><br> <br>Essential Tracks: “Rock or Bust” & “Rock The Blues Away”
Dan Miraldi
tag:danmiraldi.com,2005:Post/3358708
2014-12-03T23:52:25-05:00
2017-01-14T14:10:28-05:00
Nothing Really New, But Still Solid Foo
<div><img src="//d10j3mvrs1suex.cloudfront.net/u/16/19597101cf2af239cdf879b0605825503bc3901e/medium/sonic-highways.jpg?1417668666" class="size_m justify_center border_" /></div><br>At this point, it would be tough for the Foo Fighters to make a bad record. They are too talented and too consistent to fall into those traps. On their new album <em>Sonic Highways</em>, the band stays within familiar territory. There are some small sonic developments (a track with horns and one with an orchestra) but nothing groundbreaking. It’s a solid and pleasant record. None of its eight tracks are bad, but none of them really stun you. The intro to the opener “Something From Nothing” is kind of similar to the opening to their song “Skin and Bones”, but diverges into an up-tempo rocker. The two standouts are the horn-infused “In The Clear” and the epic orchestral closer “I Am The River”. In the canon of the Foos, <em>Sonic Highways </em>does not reach the heights of predecessors like 2011’s <em>Wasting Light </em>2005’s, <em>In Your Honor </em>or 1990s jewels <em>The Colour And The Shape</em> or <em>There Is Nothing Left To Lose</em>. Yet, it is more consistent than commercial successes such as <em>Echoes, Silence, Patience & Grace</em> and <em>One By One</em>. All in all, it is the Foo Fighters, which means the album was made with thoughtful integrity. And since it is the Foo Fighters, it is still way better than most of the competition. <br> <br>Essential tracks: “In The Clear” & “I Am The River”
Dan Miraldi
tag:danmiraldi.com,2005:Post/3255592
2014-10-29T00:05:51-04:00
2017-01-14T14:10:28-05:00
Gerard Way's Brit-pop Experiment
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/b82bf6270419293493cfb37d99bb53198d63ac3d/medium/gerard-way.jpg?1414555473" class="size_m justify_center border_" /><br>Gerard Way’s solo debut <em>Hesitant Alien</em> is an interesting experimental tribute to the Brit-pop of the 1990s and late-seventies Bowie. From the instrumentation to the way the album is mixed, he definitely had a vision for what he wanted. It is a big enough shift in sound that it is not unlikely that this will throw some My Chemical Romance fans for a loop on the first listen. However, if you dig into the record, it becomes apparent that if some of these songs were given a more “commercial” mix they could have the poppy shimmer of Way’s former rock band. For example, with a different mix, “Action Cat” could have worked on MCR’s <em>Danger Days</em> and “Brother” could have worked with <em>The Black Parade</em>. The stand out track on the record is “Millions”. The song blends power-pop and surfy-post-punk and is sure to get the mosh pit started. <br> <br>Essential Tracks: “Millions”, “Brothers” & “Drugstore Perfume”
Dan Miraldi
tag:danmiraldi.com,2005:Post/3255573
2014-10-28T23:48:01-04:00
2017-01-14T14:10:28-05:00
Weezer Makes Things Right
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/21a57bf12285c3924a5bd1e709c600c07b2300cd/medium/weezer.jpg?1414554462" class="size_m justify_center border_none" alt="" /><br>Weezer have never put out a “bad” album. The music was always pleasant enough, but their more recent albums can be criticized for lacking the emotional depth that made their earlier work so compelling. This month, Weezer released <em>Everything Will Be Alright In The End</em> and it is a true return to form. It is clear that lead singer and songwriter Rivers Cuomo really wanted to deliver on this one. He dug deep lyrically and, along with his band mates, came through big time. “Back To The Shack”, “Lonely Girl”, “Da Vinci” and “The British Are Coming” are the clear standouts. Sonically, they reflect the sound of the band’s 1990s work, but at the same time it is not a total rehash. All in all, this is a delightful record that is sure to be one of this year’s bests. <br> <br>Essential tracks: “Back To The Shack”, “Da Vinci” & “The British Are Coming”
Dan Miraldi
tag:danmiraldi.com,2005:Post/3214823
2014-10-02T17:34:35-04:00
2017-01-14T14:10:27-05:00
U2’s Gift Horse Album
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/40469d472697c9315fba4c60dc619bba38f14c69/medium/u2songsofinnocence.jpg?1412285574" class="size_m justify_center border_none" alt="" /><br>So much has been said about U2’s surprise “free” album, <em>Songs of Innocence</em>. Rumor has it that the band earned 100 million dollars from Apple. Questions have been raised: Is it a violation of privacy for Apple iCloud users to have this album “forced” upon them? Is this just another instance of Bono and the Illuminati trying to take over the world? These questions have their place. However, here at <em>The Rolling Clone Blogazine, </em>the only questions to be asked are: “What is the music like and is it any good?”<br> <br>First off, if Apple is going to give you a free album, this is a pretty good choice. Love or hate the band, U2 is always looking forward and not afraid of modern production and new sounds. At the same time, you can listen to this record and still know that you are listening to U2. Tribal rock drumming, spacey guitars and soaring arena-sing-along vocals – yep, all of these elements are here in spades. <br> <br>U2 is one of the biggest bands around, but for a large number of people this “free” album may be their introduction to the band. Bono and Co. know this and make the record extremely accessible. <em>Songs of Innocence </em>is not as daring of an album as their last studio effort, 2009’s <em>No Line On The Horizon</em>, but it is a lot more fun and upbeat. Each track is anchored by a memorable pop melody. The album opens with “The Miracle (Of Joey Ramone)”. Driven by a dirty rhythm guitar riff and woah chants, the song is infectious. The follow up, “Every Breaking Wave” is classic U2 and reminiscent of their sound on <em>All That You Can’t Leave Behind</em>. “California (There Is No End To Love)”, a driving pop song, and “Song For Someone”, a beautiful ballad, keep the listening experience enjoyable and friendly. The strongest material is at the front of the record. The later tracks (“This Is Where You Can Reach Me Now” and “Raised By Wolves”) on the record may require a second or third listening to get into them, but ultimately remain pretty accessible for people who like rock music in general. All in all, as a consumer, there really is no reason not to get this album, especially since it is free (until October 14) and the artist is still getting paid. You can be critical of its commerciality and/or the way it was delivered to you, but on the whole, it is still easily one of the year’s best albums, so quit complaining. <br> <br>Essential tracks: “The Miracle (Of Joey Ramone)”, “Song For Someone” & “Every Breaking Wave”.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/3042691
2014-06-26T18:03:13-04:00
2021-06-03T14:31:58-04:00
Foxy Shazam’s Gonzo Mess
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/8922d97a257ba4c0a4c446726dc52bb7552fbd24/medium/covergonzo.jpg?1403820031" class="size_m justify_center border_none" alt="" /><br>Steve Albini producing Nirvana = good idea. Apparently, Steve Albini producing Foxy Shazam = bad idea. <em>Gonzo</em>, the follow-up to 2012’s (and <em>Rolling Clone Blogazine’</em>s winner of album of the year), <a contents="The Church of Rock and Roll" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/foxy-shazam-takes-you-to-church" target="_blank"><em>The Church of Rock and Roll</em></a>, is a bit of a letdown. With Albini at the helm and the band recording live in the studio, something got lost in translation. A lot of the record sounds like a cross between Deep Purple with horns and the first Foo Fighters record, but not in a good way. The band comes off as self-indulgent and missing much of its infectious charisma and over-the-top attitude. The mixes are muddy as if the respective band members were arguing over whose instrument should be the loudest. Eric Nally is one of the best frontmen around, but on <em>Gonzo </em>he appears uninspired and overpowered by the cacophony surrounding him. <br> <br>With a band as good as Foxy Shazam, it is hard to write off the album completely. Tracks like “Shoe Box” and “Don’t Give In” could have turned out cool. Perhaps if they had reteamed with the Darkness’s Justin Hawkins, a man who understood and knew how to direct the band?
Dan Miraldi
tag:danmiraldi.com,2005:Post/3040621
2014-06-25T18:40:38-04:00
2017-01-14T14:10:27-05:00
Candy Hearts: Sugar-Sweet Pop-punk
<em><img src="//d10j3mvrs1suex.cloudfront.net/u/16/cf9bb1f3f70efd3bc4c913061ce58b7fdb600773/medium/candyhearts.jpg?1403735941" class="size_m justify_center border_" /><br>All The Ways You Let Me Down,</em> the sophomore LP from New Jersey’s Candy Hearts, recalls the glory days of the pop-punk emo movement, a time when bands like Blink-182, NFG and Sum 41 were all over MTV and the charts. In fact, any one of these songs on this eleven-track collection, produced by NFG’s Chad Gilbert, could have fit nicely on one of the <em>American Pie </em>soundtracks. Fueled by big sing-along choruses, emotional lyrics, big drums and crunchy guitars, <em>All The Ways You Let Me Down </em>is a fun summer record that is hard to turn off. <br> <br>On a first listen, it is easy to get hooked by mosh-pit starters like “I Miss You”, “Michigan” and the title track. On subsequent listens, the rest of the songs reveal their own strengths. For instance, “Coffee With Friends” is a nice change of pace as an up-tempo acoustic track with lush chorus harmonies. Another driving pop gem is “Fools Gold” with singer and songwriter, Mariel Loveland, telling off some boy by singing: “You are fools gold. You’re wicked and beautiful, but I’ve got nothing left for you”. All in all, if you miss the heyday of pop-punk, before slick over-production killed it, the Candy Hearts are for you. <br> <br>Essential tracks: “<a contents="I Miss You" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=5CIWlHMsF3g" target="_blank">I Miss You</a>”, “Coffee With Friends” & “Fools Gold”. Listen to the record on Spotify by clicking <a contents="here" data-link-label="" data-link-type="" href="http://open.spotify.com/album/0EqbzGdGT8JaVM9a7FmS1A" target="_blank">here</a>.
Dan Miraldi
tag:danmiraldi.com,2005:Post/2949357
2014-05-15T15:28:00-04:00
2017-01-14T14:10:27-05:00
The Black Keys’ New Turn Blue
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/89c08de9e751ecf4a8bea5cd95c1483166cda671/medium/turnblueblackkeys.jpg?1400181867" class="size_m justify_center border_none" alt="" /><br>This week the world received a new album from Akron's favorite sons, the Black Keys. The combined commercial success of 2010’s <em>Brothers</em> and 2011’s <em>El Camino</em> launched the band after years of being “kind of famous” and transformed them into the world’s biggest young rock act. After the type of success that has befallen the band, it would be easy to expect that their new album, <em>Turn Blue</em>, would be <em>El Camino II</em> – it is not. <em>Turn Blue </em>is a far more ambitious work that (for the most part) steps outside the expected big rock riff radio singles and moves into a beautiful dark and murky exploration of psychedelically-tinged bluesy rock and blends it with soul and hip-hop elements. <br> <br>The first single “Fever” is nothing particularly special. It is more like radio cannon fodder compared to most of the rest of the album. The song sounds like it is there more to satisfy record executives and people who only know the band for their big radio hits. Also, tracks like “In Time”, “Year in Review” and the title track are guilty of sounding similar to some of the material on <em>Brothers </em>or <em>El Camino</em>. For instance, they feature singer-guitarist Dan Auerbach singing in his falsetto while drummer Patrick Carney lays down a hip-infused drumbeat. Yes, it is familiar terrain, but songs like these can also be seen as sonic bridges between the two previous albums. <br> <br>The blood, guts and vitality of <em>Turn Blue</em> come from the psychedelic musical catharsis found in tracks like the fantastic slow-burning opener “Weight of Love” and “Bullet in the Brain”. Although not as riffy as <em>El Camino’</em>s “Lonely Boy”, “Weight of Love” features incendiary guitar work from Auerbach. Lyrically, this album comes from a dark place as Auerbach, with the musical support group of Carney and producer Danger Mouse, exercises the demons haunting him in the wake of his recent divorce. A sense of loss and anger is apparent in each track. “In Our Prime” is somberly soulful and focuses the album's sense of loss before the closing track. The closer, “Gotta Get Away”, is different from the other songs on the album. It’s a refreshing up-tempo rock and roll song that has a Springsteen meets CCR vibe. Lyrically and musically, the track leaves with Auerbach and Carney riding away from the storm clouds. It is a great way to end <em>Turn Blue</em>.<br> <br>The Black Keys have come too far for them to return to the garage rock sound of their excellent early albums like <em>Rubber Factory </em>and <em>Magic Potion</em>. Yet, they refuse to become slaves to the immediate commercial appeal of <em>El Camino. </em>At the same time, the duo does not completely alienate its newer fans. Instead, the band finds a renewed sense of purpose while exploring a more psychedelic soul sound. <br> <br>Essential Tracks: “Weight of Love”, “Bullet in the Brain”, “In Our Prime” & “Gotta Get Away”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/2926913
2014-05-07T17:33:38-04:00
2017-01-14T14:10:27-05:00
More Treasures From The Johnny Cash Vaults
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/ce9d6cb28389a172a20b7e1c33d336b77bbe08e6/medium/outamongthestars.jpg?1399497623" class="size_m justify_center border_none" alt="" /><br>Eleven years after his death, Johnny Cash’s distinctive baritone, songwriting and storytelling continue to intrigue new generations of listeners. He will certainly be remembered as one of the great voices of the twentieth century and beyond. Since his 2003 passing, his fans have been blessed by a number of fantastic posthumous releases built from his sessions with Rick Ruben as well as from a rich stash of home recordings. Unlike most posthumous collections by other artists, these are not just “alternate versions” of songs already available on Cash's other albums. Listeners are getting to hear Cash’s take on these songs - some originals and some covers - for the first time. <br><br>Last month’s release of <em>Out Among The Stars</em> offers proof that there are still treasures waiting for us inside the Johnny Cash vault. These recordings were originally tracked in the early 1980s, but were shelved by Cash’s record label Columbia. In 2012, Cash’s son found the tapes and, with some 2013 musical overdubs, a “new” Cash record was born. Overall, the collection’s production can be described as crisp timeless country complete with slide guitar, shuffling drums and boogie-woogie piano. An obvious highlight is the opening title track, a song telling the story of a robber with a death wish. It is a morbid tale, but the catchy sing-along chorus mixed with Cash’s delivery gives it a real warmth. His duet with his wife, June Carter Cash, on “Baby Ride Easy” is a lot of fun too and serves as a sweet reminder of how well the two sang together. “I’m Movin’ On”, which includes some vocals from Waylon Jennings, has the feel of an old school rock and roll tune that would not have been a stretch for Elvis Presley to have sung. “If I Told You Who It Was” features some of that country “talk/singing” that can often come off as a bit cheesy, but Cash somehow avoids this and delivers his lines with charm and authority. <em>Out Among The Stars </em>features two versions of “She Used To Love Me A Lot”. One is the original and the other is a remix by Elvis Costello. The original version is a moving ballad while the Costello’s odd remix comes off as unnecessary. On the whole, <em>Out Among The Stars</em> offers some validation to an often overlooked period in Cash’s career. Overall, there are plenty of memorable moments on this collection that beg the question: "<em>W</em><em>hat else is in that vault?"</em><br> <br>Essential Tracks: “Out Among The Stars”, “She Used To Love Me A Lot” (Original Version), & “Movin’ On”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/2881343
2014-04-18T13:55:00-04:00
2017-01-14T14:10:27-05:00
5 Under-rated Classic Rock Albums To Hunt Down On Record Store Day
With Record Store Day happening this Saturday, record collectors everywhere will go out and support their favorite independent record stores with the hopes of getting their hands on one of the many exclusive releases available that day. For those of you participating: once you have tracked down the rare EPs and LPs on your list, you might finish your shopping trip by browsing selections in the used vinyl section. You never know what you will find!<br> <br>This list highlights five under-rated classic rock albums that do not get as much critical praise as they should. They are not the most famous records by their respective artists, but each title is awesome and rewarding in its own way. If you are a classic rock fan and want to get outside of the usual suspects that occupy most “Greatest Albums of All Time” lists, this list is for you . . .<br> <br>The Raspberries – <em>Starting Over<br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/1374ab13d955e53c2da3142de68cf6eb13c7224a/medium/raspberries.jpg?1397842758" class="size_m justify_center border_none" alt="" /></em> <br>Cleveland’s Raspberries, like Big Star and the Velvet Underground, are one of those bands who never were truly appreciated properly when they were together, but nevertheless, were influential on a spectrum of artists from Bruce Springsteen to Motley Crüe. <em>Starting Over </em>is the band’s final album and features some of their most beautiful pop ballads as well as some of their most boisterous rockers. The opening track, “Overnight Sensation (Hit Record)” is as inventive and lushly produced as anything by Phil Spector or Brian Wilson (the track even earned the praise of John Lennon). Tunes like “Play On”, “Party’s Over” and “All Through The Night” fuse together the best elements of the Who, the Beatles and the Faces, thus creating some of the most infectious rockers known to man. <br> <br>Bob Dylan – <em>New Morning<br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/5a5535a2b93fe9595eb1ace3ffe5dfb55fc22771/medium/newmorningdylan.jpg?1397842891" class="size_m justify_center border_none" alt="" /></em><br>After throwing a curve to fans and critics alike with 1970's <em>Self Portrait</em>, Dylan released <em>New Morning </em>a short six months later. Although, 1974’s <em>Blood On The Tracks </em>is seen as the marker of Dylan’s 70s renaissance, <em>New Morning </em>is no slouch. The album is anchored by songs about domestic bliss such as the title track, the hit single “If Not For You”, and “The Man In Me”. “Day of the Locusts” and “Went To See The Gypsy” are both strong and gripping works as well. “If Dogs Run Free” is a strange jazzy song, but on the whole, <em>New Morning </em>is pretty damn good. Check it out; it sucks you in deeper with each listen.<br> <br>Graham Nash – <em>Songs For Beginners</em><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/9781d85a6d34765a5f8f236a039c56b2bc83d3cf/medium/songsforbeginners.jpg?1397842950" class="size_m justify_center border_none" alt="" /><br>At the dawn of the 1970s, Crosby, Still, Nash and Young were releasing a tidal wave of great music - both as a group and as solo artists. Of the four members, Graham Nash tends to get the least attention because he is not a guitar hero like Stills or Young and has not had as many run-ins with law as Crosby. Nash’s 1971 solo debut, <em>Songs For Beginners</em>, can sit comfortable next to the best works of Nash’s bandmates and other contemporaries such as Carole King, James Taylor and Cat Stevens. The album is poignantly political with tracks like “Military Madness”, “Chicago/We Can Change The World”. It is also a very personally reflective collection with ballads like “Wounded Bird” and “Be Yourself”. The chorus of “Simple Man”, which was written as his relationship with Joni Mitchell was falling apart, has some absolutely gorgeous harmonies. Another gem is the folky “Sleep Song”, a tune Nash originally offered his old band the Hollies, but they deemed the lyrics too racy. All in all, if you are a singer-songwriter fan, keep an eye out for this record. It is a jewel. <br> <br>Deep Purple – <em>Who Do We Think We Are?<br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/d602d84aa9ef424c3f72edc91b06c3f7bbb0ac0f/medium/deeppurplewhodo.jpg?1397843000" class="size_m justify_center border_none" alt="" /></em> <br><em>Who Do We Think We Are? </em>is an overlooked offering, because it followed Deep Purple’s smash LP <em>Machine Head </em>and their ground-breaking live release, <em>Live In Japan</em>. While recording the album, the band’s Mark II lineup was falling apart. Singer Ian Gillan was gearing up to quit and guitarist Ritchie Blackmore was being his usual difficult self. The album was released, but no tour supported it. From it, the song “Woman From Tokyo” is its only recognizable hit. The following year, the Deep Purple Mark III lineup premiered (featuring new singer David Coverdale and bassist Glenn Hughes) and released its celebrated debut, <em>Burn</em>. All these factors ultimately often leave <em>Who Do We Think We Are?</em> in the shadows. Nevertheless, the album rocks. Blackmore’s guitar riffs are tasty; the rhythm section of Ian Paice and Roger Glover is in fine form, as are Gillan’s vocals and John Lord’s signature organ playing. Seek out heavy rockers like “Super Trouper”, “Smooth Dancer” and “Rat Rat Blue” and let the head-banging begin.<br> <br>Chicago – <em>Chicago II</em> (although just labeled “Chicago” on earlier pressings)<br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/70448734e3117545bc509037bbe068fc24475946/medium/chicago.jpg?1397843028" class="size_m justify_center border_none" alt="" /><br>Chicago gets a bad rap, because of their soft rock friendly offerings at the end of the 70s and throughout the 80s. However, at the dawn of the 1970s the band fused rock, pop, soul, jazz and the threads of Beatlesque psychedelia into a series of ground-breaking double albums. Their sophomore effort, 1970s <em>Chicago II, </em>is a rich work with a lot to appreciate. There are the obvious hits like “Make Me Smile”, “Colour My World” and “25 or 6 to 4” as well as cool deeper cuts like “In the Country”, “Movin’ In”, and “Where Do We Go From Here”. Each track flows seamlessly into the next as if it is all one giant suite. <em>Chicago II </em>is great with its harmonies, horn sections and symphonic arrangements, but do not miss out on the late Terry Kath’s innovative guitar heroics. When he get’s cooking, the songs really take off. Even Hendrix was blown away by Kath’s playing. In the end, if you stumble across this title when thumbing through the used vinyl, do not let your preconceived notions about Chicago get the better of you. <em>Chicago II </em>is pretty cool. <br> <br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/2863904
2014-04-11T16:15:26-04:00
2017-01-14T14:10:27-05:00
The 5 Best Speeches From The 2014 Rock Hall Inductions
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/17365897e638bc09441984b4a78058bb48ba2b43/original/nivanaacceptance2.jpg?1397246675" class="size_l justify_center border_" /><br>Living in Cleveland has its perks. One of them was being able to last night watch the Rock and Roll Hall of Fame Induction Ceremony’s live satellite feed in the comfort of the museum’s Foster Theatre. The environment was fun and lively and the broadcast’s picture and audio were great. It was the next best thing to being in Brooklyn at a front-row table on the floor of the Barclay’s Center. <br><br>As one would expect, there were a number of stand out musical performances. The best was the five-song tribute to Linda Ronstadt featuring Stevie Nicks, Bonnie Raitt, Sheryl Crow, Carrie Underwood, Emmylou Harris and Glenn Frey. Everyone sang and harmonized beautifully. The Nirvana reunion that featured the surviving members along with Joan Jett, Lorde, Kim Gordon and St. Vincent was especially moving. It was the first time Grohl, Novoselic and Pat Smear played Nirvana songs publicly since Cobain’s death. The historical significance added a cathartic power to the four-song performance. <br> <br>On a night that highlights musical accomplishments and special collaboration, one aspect that is easy to overlook is the quality of the speeches. There were all types of speeches given last night. Some were funny, some clever, some heartfelt and some, unfortunately, that seemed to never end. Below is my list of the best speeches from last night’s ceremony. I have attached links to the few speeches I could find online, but I am uncertain how long each clip will remain posted before HBO forces them to come down, so that it will not take away from the network's May 31 broadcast of the ceremony. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/50db60fcdc0d2acc5ff473eb610bb7dd05badd1d/original/kiss-acceptance.jpg?1397246717" class="size_l justify_center border_" /><br>5.) <span style="color:#FFD700;">KISS’s acceptance speech</span>: For a short breath of time, the original members of KISS stopped behaving like angry toddlers and civilly accepted their awards together. They paid compliments to their current and/or former bandmates. Gene Simmons was unusually soft-spoken and kept his ego in check. Ace Frehley was funny with his speech and talked about overcoming his drug and alcohol addictions. Peter Criss briefly alluded to the KISS makeup squabble at the end of his speech when he defiantly stated that, in or out of makeup, he would always be the Catman. Paul Stanley was polite, but took the Roll Hall committee to task about their criteria/lack of criteria for whom they induct. No slapping fights, no name calling, it was surprisingly warm and . . . respectable. Watch the speech by clicking <a contents="here" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=DdZvH02hdfA" target="_blank">here</a>. <br> <br>4.) <span style="color:#FFD700;">Chris Martin’s induction of Peter Gabriel</span>: The speech was heartfelt and described Gabriel’s influence on Martin growing up. Martin started his tribute describing Gabriel’s as though he were reading scripture from the Old Testament. The pieces were perfect considering Gabriel’s last name and the fact that his first fame came through the band Genesis. It was very humorous and received a good crowd reaction.<br> <br>3.) <span style="color:#FFD700;">Yusuf Islam’s (Cat Stevens) Acceptance Speech</span>: It was easy to tell that Islam was very amused, as well as very pleased to be recognized for his accomplishments prior to his leaving the pop music world. He earned some laughs when he stated that he never thought he would share a stage with KISS. At the end of his speech, Islam also addressed the people who may doubt his qualifications for inclusion into the Rock Hall. He said that inducting a man who does not throw TVs out of hotel windows, does not drink or do drugs and only sleeps with his wife is a very rock and roll and thing to do.<br> <br>2.) <span style="color:#FFD700;">Tom Morello’s KISS induction speech</span>: Tom Morello’s speech chronicled the plight of growing up as a KISS fan and having to overcome the snobbery of the rock establishment as well as school bullies. He was great about recognizing the contributions of all of the band members both past and present. Morello was articulate, passionate, but also very funny. Morello stated that a band’s induction should be weighed by their accomplishments, influence and awesomeness. He made a case showing that KISS met the criteria of all three in spades. The members of KISS should at least be able to agree that they could not have asked for a better tribute than what they received from Morello. Whether you like the band or not, find a clip of the speech. It's great.<br> <br>1.) <span style="color:#FFD700;">Michael Stipe’s Nirvana induction speech</span>: Stipe’s induction of Nirvana explained why they were more than just musicians: they were artists. Their work influenced mediums far beyond music and brought a voice to a cross-generational demographic of disillusioned souls searching for a truth and a connection in the post-Reagan-Bush-senior era. Stipe’s words were eloquent and moving, especially as he described the power of Cobain’s vocals and how much he is missed by the world. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/b803cfe3985e0e2d7523d3638f277bedb1040d0d/original/michael-stipe-a-l.jpg?1397246751" class="size_l justify_center border_" /> <br>Text © 2014 DM Experience This Music LLC
Dan Miraldi
tag:danmiraldi.com,2005:Post/2855609
2014-04-08T21:18:36-04:00
2020-11-05T07:48:54-05:00
10 Essential Nirvana Deep Tracks
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/480df581dd782620c74001b6f7240a5ca0fca64e/large/nirvana1.jpg?1397006207" class="size_l justify_center border_none" alt="" /><br>So much has already been said about Nirvana and the impact of their music. The opening powerchords of “Smells Like Teen Spirit” are the sound of the 80s coming to an abrupt end. Nirvana opened the door for the entire grunge-alt-rock music scene and Kurt Cobain’s songwriting still inspires countless artists (both excellent and terrible). This Thursday, they will be inducted in the Rock and Roll Hall of Fame. The band unquestionably deserves the honor. Although only in the spotlight a few years before Cobain’s tragic suicide, the records they made still sound as fierce and fresh as ever. Many of the songs off of Nirvana’s three studio albums, <em>Bleach</em>, <em>Nevermind</em>, and <em>In Utero</em>, are constant staples of rock radio. However, if you look beyond those three albums and the fabulous <em>MTV Unplugged In New York</em>, there are plenty of jewels waiting to be discovered. <br> <br>On this list are ten “deep tracks” that I enjoy whenever I am digging through the classic Nirvana EP compilation, <em>Incesticide</em>, or the <em>With The Lights Out </em>box set or just going through the bonus tracks and b-sides included on the recent reissues of Nirvana’s three studio albums. If you want to listen to the tracks while you read, click <a contents="here" data-link-label="" data-link-type="url" href="https://play.spotify.com/user/1210507344/playlist/11nt04kphrmjgbPbAaZcwl" target="_blank">here</a>. I made a <a contents="Spotify" data-link-label="" data-link-type="url" href="https://play.spotify.com/user/1210507344/playlist/11nt04kphrmjgbPbAaZcwl" target="_blank">Spotify</a> playlist. In no particular order, my ten picks are . . .<br> <br><span style="color:#FFD700;"><strong>“Aneurysm” – <em>Incesticide </em>(Recorded in 1991)</strong></span><br> <br>There are a couple versions of this song. All of them are good. The above-mentioned version was recorded for the BBC during their Mark Goodier radio sessions and was released on the EP/rarities collection, <em>Incesticide</em>. There are also some great live versions of the track as well as a studio take that was a <em>Nevermind</em>-era b-side. That version was included as a bonus track on the 2011 reissue of the album. <br> <br><span style="color:#FFD700;"><strong>“Sappy” – <em>In Utero</em> (2013 Reissue) (Recorded in 1993)</strong></span><br> <br>The version mentioned above was remixed last year and included as bonus track on the deluxe reissue of <em>In Utero</em>. It was used as an <em>In Utero </em>b-side and was originally released on the <em>No Alternative </em>benefit compilation. <br> <br><span style="color:#FFD700;"><strong>“They Hung Him On A Cross” – <em>With The Lights Out </em>(Recorded in 1989)</strong></span><br> <br>When the band recorded their MTV unplugged special, Cobain delivered a haunting version of Leadbelly’s “Where Did You Sleep Last Night?”. A few years before, he recorded a couple of Leadbelly tunes at an “off the cuff” recording session produced by Jack Endino. “They Hung Him On A Cross” was one of them and features Cobain alone accompanied by a distorted acoustic guitar.<br> <br><span style="color:#FFD700;"><strong>“Ain’t It A Shame” – <em>With The Lights Out</em> (Recorded in 1989)</strong></span><br> <br>This is from the same 1989 recording session of Leadbelly covers. This song features a full band backing. It is a harsh song lyrically and made even harsher by the instrumentation.<br><br><span style="color:#FFD700;"><strong>“Curmudgeon” – <em>Nevermind</em> (2011 Reissue) (Recorded 1992)</strong></span><br> <br>This track is also available on the <em>With Lights Out </em>box set. Originally “Curmudgeon” was the b-side of Nirvana’s hit “Lithium”. It is an aggressive track recorded after the initial <em>Nevermind </em>sessions as the band is transitioning from <em>Nevermind </em>into the <em>In Utero </em>material.<br> <br><span style="color:#FFD700;"><strong>“Marigold” – <em>In Utero</em> (2013 Reissue) (Recorded 1993)</strong></span><br> <br>This was originally released as the b-side to “Heart-Shaped Box”. It was recorded during the <em>In Utero </em>sessions. “Marigold” is a unique Nirvana song, because it was written by drummer Dave Grohl and features Grohl on lead vocals. It is a haunting and pretty track that foreshadows Grohl coming into his own as a songwriter and front man following Cobain’s death.<br> <br><span style="color:#FFD700;"><strong>“Molly’s Lips” – <em>Incesticide </em>(Recorded 1990)</strong></span><br> <br>This is a cover of a song by the Vasalines. Nirvana’s version perfectly blends grunge, pop and punk. This recording was originally recorded for John Peel's program on the BBC. <br> <br><span style="color:#FFD700;"><strong>“Verse Chorus Verse” <em>With The Lights Out </em>(Recorded 1991)</strong></span><br> <br>“Verse Chorus Verse” is an outtake from <em>Nevermind</em>. Though not stronger than anything that made the original album, the song certainly has its charm.<br> <br><span style="color:#FFD700;"><strong>“Old Age” <em>With The Lights Out </em>(Recorded 1991)</strong></span><br> <br>Another delightful <em>Nevermind </em>outtake!<br> <br><span style="color:#FFD700;"><strong>“Token Easter Song” <em>With The Lights Out </em>(Recorded 1989)</strong></span><br> <br>“Token Easter Song” was demoed when Nirvana was getting tracks together for the <em>Blew EP</em>. The rawness of the guitar and groove of the drums unify the realms of underground grit and pop infectiousness. Although gripping as it stands, you have to wonder what it would have sounded like if it had been recorded for a proper album. <br><br>Text (c) 2014 DM Experience This Music LLC<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/1ddde2b0d0874d3f3b4cb2f1b5a21ac95bf1df49/original/nirvana2.png?1397006238" class="size_l justify_center border_" />
Dan Miraldi
tag:danmiraldi.com,2005:Post/2720419
2014-03-10T14:36:08-04:00
2021-06-28T02:44:32-04:00
WATIC: Pop-Punk and Proud
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/1a6e63fd2a34763e8755e0095523706ed31930e0/medium/wearetheincrowd.jpg?1394476218" class="size_m justify_center border_none" alt="" /><br>We Are The In Crowd’s latest effort, <em>Weird Kids</em>, is an enjoyable collection of pop-punk jams. Listening to the disc, it is clear that WATIC is eyeing a larger audience. However, the band successfully finds a balance of making a slicker and bigger album without it coming off as soulless. The band wears their influences on its sleeve. For instance, the album opens with the <em>Black Parade</em>-era-MCR-flavored “<a contents="Long Live The Kids" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=2S_a6vglycc" target="_blank">Long Live The Kids</a>”. The song starts off slow before building into an energetic rocker with a big chorus. “Manners” recalls Taking Back Sunday minus the screaming. Having toured with Yellowcard and All Time Low, songs like “Reflections” and the album's highlight “<a contents="The Best Thing (That Never Happened)" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=BFqtasnu7y8" target="_blank">The Best Thing (That Never Happened)</a>” show that some of their influence rubbed off in the album’s writing as well. We Are The In Crowd have not rewritten the pop-punk rulebook, but instead of have just continued to perfect its craft and mold its sound. The male/female vocal trade off between singers Tay Jardine and Jordan Eckes is strong and distinguishes WATIC from the above-mentioned bands. On the whole, there is a not a bad song on this album. Of the up-and-coming bands waving the pop-punk flag, We Are The In Crowd is one of the best. So if punk-pop is your thing, so are these “weird kids”.<br> <br>Essential tracks: “The Best Thing (That Never Happened)”, “Long Live The Kids” & “Come Back Home”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/2614942
2014-02-20T11:49:51-05:00
2017-01-14T14:10:26-05:00
The Adventures of Graham Nash
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/d86c21bf04933b275a75370e97d2ba939826c430/medium/nash-wild-tales-cover.jpg?1392914814" class="size_m justify_center border_none" alt="" /><br>Graham Nash’s autobiography, <em>Wild Tales: A Rock And Roll Life</em>, is a thoughtful and honest work documenting Nash’s personal life and fifty-plus year music career. It highlights his childhood meeting with future Hollies-co-founder, Allan Clarke, and their discovery of their mutual love of rock and roll and performing live. Anecdotes of his exciting early Hollies career and its intersecting with the Beatles and other titans of the British rock scene are very entertaining. Later, Nash conveys his mixed emotions of his work within the fragile alliance and frequent dramafest that are Crosby, Stills, Nash and sometimes Young. Numerous stories find Nash as the saner link caught between the ego-driven Stills and Young rivalry as well as Crosby’s drug addiction. He is both hard on his band mates, but also proud of them and the work they created together. That is not to say that Nash is not also critical of himself and his sex, drugs and rock and roll life choices. He certainly is, but, after reading this book, if you had to be trapped on a desert island with one of them, your best choice is probably Nash. <em>Wild Tales </em>is not as shocking and raunchy as many other rock memoirs like Motley Crue’s <em>The Dirt</em> nor is it as poetic as autobiography’s like Dylan’s <em>Chronicles </em>or Sting’s <em>Broken Music</em>. The main complaint is that the last couple chapters feel a bit rushed on content. Nash tends to skip over much of his life over the last twenty-five years. It would have been nice for him to discuss the creation of CSN and CSNY works like <em>After The Storm </em>and <em>Looking Forward</em>.<em> Wild Tales</em> is, however, an enjoyable and gripping work that is hard to put down once you start reading.
Dan Miraldi
tag:danmiraldi.com,2005:Post/2574868
2014-02-13T12:26:15-05:00
2017-01-14T14:10:26-05:00
The Rolling Stones' Electrifying Live '65
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/3f3dce0c8a3ada3854ad67461985b5591270eb86/medium/rollingstones65.png?1392312292" class="size_m justify_center border_none" alt="" /><br><br>The recent release of The Rolling Stones’ <em>Live 1965: Music From Charlie Is My Darling</em> offers an interesting audio snapshot of this legendary band in its original incarnation. It is a time when they are definitely in the process of becoming a hot item, as one can tell from the constant roar of screaming girls throughout the recording, but have yet to truly conquer America. This pre-Satisfaction era set captures the band performing in Ireland. The entire recording clocks out in at under 28 minutes, but such was the standard set during those early tours. The song selection is heavy on blues covers played by the band at proto-punk speed. Each tune segues nicely into the next. The guitars come through with raw intensity and were recorded a little "in the red", but the extra distortion only adds to the fierceness of the music. Mick’s voice sounds great. Performances of “Route 66”, “The Last Time” and “Everybody Needs Somebody To Love” are exceptionally electrifying. All in all, it’s pretty freakin’ cool.<br> <br>Essential tracks: “Everybody Needs Somebody To Love”, “Route 66” & “The Last Time”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/2308208
2013-12-31T01:19:14-05:00
2017-01-14T14:10:26-05:00
The Best Records of 2013
<strong>It's time for the Rolling Clone Blogazine's annual list of the year's best records . . . </strong><br><br><strong>1.) Fall Out Boy – <em>Save Rock And Roll</em></strong><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/e67527256a668325646500d81cc8ec1c112666fc/medium/falloutboysave.jpg?1367174321" class="size_m justify_center border_none" alt="" /><br>Fall Out Boy came back in a big way, showing that a few year apart didn't take away from the band's pop boldness or their ability to construct a collection containing 2013's catchiest jams. This album is killer pop-rock and delightfully over-the-top. Welcome back boys! Read the full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/the-glorious-return-of-fall-out-boy" target="_blank">here</a>. <br> <br><strong>2.) Tegan & Sara – <i>Heartthrob</i></strong><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/11148c6930fcae497885b525b05ffccd85f6f62f/medium/teganandsara.jpg?1364416678" class="size_m justify_center border_none" alt="" /> <br>Tegan & Sara experimented and expanded their sound by embraced Top 40 dance-pop production, while continuing to write poignant and heartfelt songs. The results were excellent. Read the full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/tegan-and-sara-s-full-on-pop-catharsis" target="_blank">here</a>. <br> <br><strong>3.) Paul McCartney – <em>NEW </em></strong><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/df66f6004c652b6398ff8511e73e5eb3b2fa7219/medium/mccartneynew.jpg?1384048949" class="size_m justify_center border_none" alt="" /><br>At age 70, Beatle Paul delivers his best album of the new millennium and put his younger competition to shame. The record perfectly blends classic Paul with modern production. Read the full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/new-classic-mccartney" target="_blank">here</a>. <br> <br><strong>4.) Eleanor Friedberger – <em>Personal Record </em></strong><br> <br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/dd687d7094292e31ad55e14c2b5458deedd9bd49/medium/eleanorfriedberger.jpg?1375992830" class="size_m justify_center border_none" alt="" /><br>Eleanor Friedberger successfully combined pop hooks and rich poetic lyrics for a masterpiece of a record. Read more about it <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/free-energy-bring-it-with-new-lp" target="_blank">here</a>. Here's to hoping she does some more extensive touring for this album in 2014!<br> <br><strong>5.) Jake Bugg – </strong><em><strong>Jake Bugg</strong><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/3d2cd7529c18231167ab6a247735eff3c0a24f6a/medium/JakeBugg.jpg?1366143612" class="size_m justify_center border_none" alt="" /></em><br>With his excellent self-titled debut, Jake Bugg showed that he wasn’t just some teen idol, but one of the best emerging young songwriters around. Read the full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/young-bugg-gains-speed">here</a>.<br> <br><strong>Honorable Mentions:</strong><br> <br><strong>6.) Franz Ferdinand – <em>Right Thoughts, Right Words, Right Action </em></strong><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/9491b6577a23a5c45c8c1c462b203bb1f918008e/medium/franzferd.jpg?1388470627" class="size_m justify_center border_none" alt="" /> <br>It has been nearly ten years since Franz Ferdinand released their self-titled debut record. They are no longer as big in the US as they once were, but that doesn’t mean that they’ve stopped making great records. Pay attention to this band. <em>Right Thoughts, Right Words, Right Actions </em>is glorious from start to finish. <br> <br><strong>7.) Arctic Monkeys – <em>AM </em></strong><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/69d012c11de1df663b89f49cafae5c9e25c3fd5f/medium/arctic-monkeys.jpg?1388470722" class="size_m justify_center border_none" alt="" /> <br>The Arctic Monkeys took their distinctive brand of British rock and mashed it with Black Sabbath-style riffs and drumming. It made for a great time and their best record to date.<br> <br><strong>8.) Houndmouth – <em>From The Hills Below The City </em></strong><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/23bf84ae89723407727545d523f1e90f289b89fe/medium/houndmouth.jpg?1372870945" class="size_m justify_center border_none" alt="" /><br>This under-rated band released their debut this year and sounded like an intelligent blend of the Lumineers and the Band. Read the full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/houndmouth-s-shining-debut" target="_blank">here</a>.<br> <br><strong>9.) Free Energy – <em>Love Sign </em></strong><br> <br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/68540508b0c6f682a4ebb0f0c04aa8a51c0a19f9/medium/61-XRGFcnXL_SL500_AA280.jpg?1364416676" class="size_m justify_center border_none" alt="" /><br>A mixture of 2013 pop-rock mentality mixed with T-Rex crunch and the Cars' good times, Free Energy's <em>Love Sign </em>is delightful from start to finish. Read the full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/free-energy-bring-it-with-new-lp" target="_blank">here</a>.<br> <br><strong>10.) Best Coast – </strong><em><strong>Fade Away</strong><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/1b5a13e321a6c4eb06d53e62ee943f9fb99bd192/medium/best-coast-fade-away.jpg?1385952919" class="size_m justify_center border_none" alt="" /></em><br>It may not be a full-length record, but there was not a bad song in the bunch. Check out the full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/best-coast-not-to-fade-away" target="_blank">here</a>.
Dan Miraldi
tag:danmiraldi.com,2005:Post/2270586
2013-12-21T12:08:52-05:00
2017-01-14T14:10:26-05:00
The 10 Under-rated Songs of 2013
2013 saw the release of plenty of good music. With so much to explore, some brilliant songs have slipped through the cracks. The Rolling Clone Blogazine has found ten of those jewels and wants to make sure you don’t miss out! In no particular order, the Un-rated Songs of 2013 are . . .<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/ea87645e1415f9c3547501fb99ffb7904222e4b1/original/under-rated-2013.jpg?1387645190" class="size_l justify_center border_" /> <br>(Click each song title and you will be directed to a video link of each track.)<br> <br><a contents="Franz Ferdinand - “Fresh Strawberries”" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=NG60VdQhiAw" target="_blank"><strong>Franz Ferdinand - “Fresh Strawberries”</strong></a><br> <br>Franz Ferdinand really brought it with their fabulous new record <em>Right Thoughts, Right Words, Right Actions. </em>With “Fresh Strawberries”, they skillfully blend one part beautiful retro-AM-sunshine and one part dance rock sass while channeling their inner-Hollies with their infectious chorus harmonies. <br> <br><a contents="Best Coast - “This Lonely Morning”" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ARKm0Ve56E8" target="_blank"><strong>Best Coast - “This Lonely Morning”</strong></a><br> <br>In the perfect world, Best Coast would rule Top 40 Radio. Singer, Bethany Cosentino continues to crank out catchy bullets of pop perfection. With “This Lonely Morning”, she and guitarist, Bobb Bruno, fuse sixties girl pop with nineties-Green Day grit. Check out the full review of their EP, <a contents="Fade Away" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/best-coast-not-to-fade-away" target="_blank"><em>Fade Away</em></a>. <br> <br><a contents="Arctic Monkeys – “Arabella” " data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=JoKd98AslF4" target="_blank"><strong>Arctic Monkeys – “Arabella” </strong></a><br> <br>This year, Black Sabbath released their first new album with Ozzy Osbourne since 1978. However, the best Black Sabbath song of the year was not written or recorded by Black Sabbath: it was written by the Arctic Monkeys. Fusing their British indie-rock sensibilities with Sabbath, the Arctic Monkeys have made one killer track that shows this band continuing to blossom. <br> <br><a contents="Lou Doillon – “Questions And Answers”" data-link-label="" data-link-type="url" href="http://vimeo.com/69919793" target="_blank"><strong>Lou Doillon – “Questions And Answers”</strong></a><br> <br>Lou Doillon is pretty much unknown in the U.S., but her debut, <em>Places</em>, was released over here this June. Lou has a great voice and smart image-filled lyrics. “Questions And Answers” is one of those songs that is both immediately likeable, but continues to get better with each listen. Check out the full-length review of <em>Places </em><a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/lou-doillon-debut-goes-places" target="_blank">here</a>. <br> <br><a contents="Paul McCartney – “Looking At Her”" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ka06CWHRYFI" target="_blank"><strong>Paul McCartney – “Looking At Her”</strong></a><br> <br>Tucked at the end of Sir Paul’s brilliant new album, <em>NEW, </em>is this bit of pop wonderment. It is both Beatley and modern at the same time. The next time you fall in love, listen to this song. Check out the full review of McCartney’s <em>NEW </em><a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/new-classic-mccartney" target="_blank">here</a>. <br> <br><a contents="Fall Out Boy – “Young Volcanoes”" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=2ZvHkOAtUYQ" target="_blank"><strong>Fall Out Boy – “Young Volcanoes”</strong></a><br> <br>One of the reasons 2013 was great for music was because the members of Fall Out Boy decided to bury the hatchet, hit the road and make a new album, <em>Save Rock And Roll</em>. Their summery acoustic stomp, “Young Volcanoes”, shows the band continuing to dominate in the “pop hooks” department. On this track, Pete Wentz proves that his lyrical wit was not numbed by the band’s hiatus: “<em>We’ll show you how to make boys next door out of assholes</em>.” Read the full review of <em>Save Rock And Roll </em><a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/the-glorious-return-of-fall-out-boy" target="_blank">here</a>. <br> <br><a contents="Free Energy – “Hangin’”" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=NMRWNF1mnoA" target="_blank"><strong>Free Energy – “Hangin’”</strong></a><br> <br>In one three minute and thirty-five second track, Free Energy have captured the idealization of summer teenage love and presented listeners with another delightful pop-rock gem. “<em>I feel so boss, makin’ out with you lipstick gloss . .</em> .” The full review of Free Energy’s 2013 LP, <em>Love Sign</em>, can be read <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/free-energy-bring-it-with-new-lp" target="_blank">here</a>. <br> <br><a contents="Houndmouth – “Ludlow” " data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=n4hJdFkUZsY" target="_blank"><strong>Houndmouth – “Ludlow” </strong></a><br> <br>Fusing the Americana beauty of the Lumineers with the grit of the Band, Houndmouth have arrived singing songs about love, addiction and hard times. Their debut, <em>From The Hills Below The City, </em>is one of the year’s best and “Ludlow” is the perfect introduction to why this band has the potential to become huge over the next few years. Read the full album review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/houndmouth-s-shining-debut" target="_blank">here</a>. <br> <br><a contents="Eleanor Friedberger – “Stare At The Sun”" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=74-iyAoMa6Y" target="_blank"><strong>Eleanor Friedberger – “Stare At The Sun”</strong></a><br> <br>It is tough to make songs that are both lyrically rich and catchy, but Eleanor Friedberger makes it look easy. Check out this single from her fantastic second solo album, <em>Personal Record</em>. Read the album’s full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/eleanor-friedberger-hits-new-heights-on-personal-record" target="_blank">here</a>. <br> <br><strong>Iggy & the Stooges – “Beat That Guy” </strong><br> <br>When you think of Iggy & the Stooges, you think of wild proto punk and a shirtless Mr. Pop rolling around in glass. Ballads seem very unusual for this iconic band, but on their 2013 release, <em>Read To Die, </em>they show that they can still maintain their bite at lower volumes. In a worn 66-year-old baritone, Iggy, with gritty vulnerably, sings about survival and determination to win. The track comes out of left field, but it’s a stellar song. Rock on Stooges! Check out the album’s full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/ready-to-die-finds-iggy-the-stooges-quite-alive" target="_blank">here</a>. (This song is not on Youtube as of this publishing)
Dan Miraldi
tag:danmiraldi.com,2005:Post/2238753
2013-12-16T10:54:24-05:00
2017-01-14T14:10:26-05:00
Mysteries of Songwriting Revealed! Part 1: “Don’t Over-Think It.”
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/20492e9cedda9c1f1b70cd5973533038b5ed7af9/medium/img-0224.jpg?1387209131" class="size_m justify_center border_" /><div style="text-align: center;"><strong>Mysteries of Songwriting Revealed!<br>Part 1: “Don’t Over-Think It.”<br>By Dan Miraldi</strong></div><br>When asked to write about songwriting, I am forced recall the quote often attributed to Frank Zappa: “Writing about music is like dancing about architecture.” It is tough to use one artistic medium to try and describe another, but I will attempt to summarize some of the basic principles I tend to follow . . . except for when I don’t. <br><br>First off, there is no right or wrong way to go about writing music. I have often been asked do I write the melody, the underlying chords or the lyrics first? The answer is “yes” – songwriting happens all ways and every way. I do not know when inspiration may strike. It is nice when I have a guitar and pen handy, other times it can be just as I’ve put shampoo in my hair and I am forced to rinse it out quickly, race to my phone and sing my idea into its recorder before I lose it forever.<br> <br>My number one rule about songwriting is don’t over-think it, especially when you’re figuring out the basic chord progression. If you over-think a song, it will come off as forced. Many a great song idea have been killed off by over-thinking. Let the song go where it wants to go. Don’t be afraid to use a conventional chord progression. There is a reason they are used so often – they work! The trick is making your melody unique, that is often the part of the song that gets stuck in the listener’s heads anyway. There are plenty of songs that share a common progression and sound absolutely nothing alike, so stop fretting! That is not to say don’t challenge yourself or experiment. Find new progressions that excite you and see where they take you. Learning new chords will definitely widen your pallet of songwriting tools. My point is don’t be upset when you think of a cool melody line and sit down to try to figure out the appropriate accompanying chords only to discover that they are G, C and D. The song may still be a winner. <br> <br>Sometimes, you can compensate for simple chord progressions by being clever with not only melody, but by lyrical content. Creative images are a great way to enhance your songwriting and take your listeners on a journey. Bob Dylan is the master of this; check out songs like “Tangled Up In Blue” and “Hurricane”, each are incredibly cinematic. Take the opening of Dylan’s “Hurricane”: “<em>Pistol shots ring out in the barroom night. Enter Patty Valentine from the upper hall. She sees a bartender in a pool of blood. Cries out, ‘My God, they’ve killed them all!</em>’” BOOM! You’re there. However conversely, “Twist & Shout” is a great song and its lyrical simplicity adds to the song’s infectious nature. Songwriters have to make decisions on a case-by-case basis. You must recognize what kind of song you are writing and what plays to the overall vibe of your composition. A lot of the time in modern pop music, it comes down to finding a balance between cleverness and simplicity. <br> <br>Next, I would like to touch upon the misconception that the best songs are written all at once. It is really <em>convenient</em> when they happen that way and some fantastic songs were written in one sitting, but that does not guarantee greatness. Sometimes you have to wrestle with the songwriting muses and be patient. My 2012 release <em>Sugar & Adrenaline </em>contains the songs “Few Rock Harder” and “Helen of Troy”. With “Few Rock Harder”, I carried the guitar riff and general chorus idea in my head for the better part of six years before I figured out how the song’s pieces fit together. “Helen of Troy”, on the other hand, was written in about fifteen minutes. I am proud of both and consider each among some of my best compositions.<br> <br>In the end, you as a songwriter must learn to trust your gut. Consulting others can be beneficial and inspiring, but do not be timid. You are the song’s parent. It's your ultimate decision as to how your baby should be raised. You’ll make some mistakes along the way, just learn from them and get better with each try. Remember: don’t over-think it.<br> <br>© 2013 DM Experience This Music LLC
Dan Miraldi
tag:danmiraldi.com,2005:Post/2198475
2013-12-09T17:31:51-05:00
2017-02-03T00:54:36-05:00
Panic’s Dance Party Continues
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/bf1e3f6481afe88c6ec3eb4840b06e52ca49ca5d/medium/panic.jpg?1386627252" class="size_m justify_center border_" /><br>In 2009, half of Panic! At The Disco left because of creative differences, leaving singer Brendon Urie and drummer Spencer Smith with the task of figuring out how to carry on. In 2011, they worked with producer Butch Walker and released the favorably-received <em>Vices & Virtues</em>. This fall, <em>Too Weird To Live, Too Rare To Die!</em>, an album largely driven by Urie and new bassist, Dallon Weeks, unveiled the next chapter in the Panic! saga. Spencer Smith is on the record, but his rehab stint hindered his full participation. <br> <br>With this new album, they worked again in the recording studio with Butch Walker, but this time, they have moved from dancey-pop-punk to dancey-pop-electronica with splashes of hip-hop. The record is solid and also genre-defying, especially with the opening two tracks, “This Is Gospel” and “Miss Jackson”. “This Is Gospel” has a lot of processed electronic vocal production on the backing vocals, but Urie’s lead vocal comes through with righteous pop clarity most notably in the exploding chorus: “If you love me, let me go!”. Also, <em>Too Weird</em> consistently makes use of electronic beats instead of live drums. “Miss Jackson” is a good example of the album’s hip-hop influence with its beat-tastic verse instrumentation and the tight rhyme structure of Urie’s lyrical delivery. It’s a song built for the dancefloor. Occasionally, the album loses momentum with snoozers like “Girl That You Love” and the indulgent closer “The End of All Things”, but it manages to regain its footing with tracks like the ultra-catchy “Collar Full”, “Nicotine” and the provocative “<a contents="Girls/Girls/Boys" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=Yk8jV7r6VMk" target="_blank">Girls/Girls/Boys</a>”. All in all, <em>Too Weird</em> is designed to make you dance. As with all things Panic!, it is bold, a little unpredictable and over-the-top – kind of what you’d expect.<br> <br>Essential tracks: “<a contents="Miss Jackson" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=LUc_jXBD9DU" target="_blank">Miss Jackson</a>”, “<a contents="This Is Gospel" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=tGE381tbQa8" target="_blank">This Is Gospel</a>” & “<a contents="Collar Full" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=yZAIEAG6Vgk" target="_blank">Collar Full</a>”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/2141502
2013-12-01T22:00:51-05:00
2017-02-02T22:52:37-05:00
Best Coast – Not To Fade Away
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/1b5a13e321a6c4eb06d53e62ee943f9fb99bd192/medium/best-coast-fade-away.jpg?1385952919" class="size_m justify_center border_none" alt="" /><br>Of the bands that made it big during the indie rock low-fi movement, Best Coast has stood out as one of the best . . . if not the best. In the beginning, singer/guitarist Bethany Cosentino wrote reverbed-out, sassy and catchy sixties-flavored pop songs about love and heart break in the California hipster world. Last year’s <em>The Only Place</em>, was a sonic change of pace for Cosentino and her co-conspirator, Bobb Bruno. The songwriting stayed in the same vein as their earlier releases, but the production was more hi-fi (choosing to record at the legendary Capital Record’s Studio B) and less reverb was used on the vocals, further highlighting Cosentino’s vocal gifts. <br> <br>Last month, Best Coast unveiled a new EP, <em>Fade Away</em>, and it is their best work to date. The production is crisp, but also gritty. Each one of the seven tracks demonstrate Cosentino’s knack for writing great pop songs. Best Coast’s surfy-girl-pop-sass is still intact, but the band’s sound is also showing some more nineties rock influences. One can hear some <em>Dookie</em>-era Green Day guitar crunch on rockers like “This Lonely Morning”, “I Wanna Know” and “Who Have I Become?”. The title track has a pop-grunge vibe in its production and arrangement. The band returns to its sixties-tinged roots on the closer, “I Don’t Know How”. The song opens sounding like the cousin of Sam Cooke’s “Bring It On Home To Me” before switching into double time and exploding with power-bliss. All in all, <em>Fade Away</em> is a great EP that showcases the band’s growth and should get music fans excited about Best Coast's next full-length album. <br> <br>Essential Tracks: “<a contents="This Lonely Morning" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ARKm0Ve56E8">This Lonely Morning</a>”, “<a contents="I Wanna Know" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=3wdf-nvPCSE" target="_blank">I Wanna Know</a>” & “<a contents="Who Have I Become?" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ClS402whwPA" target="_blank">Who Have I Become?</a>”
Dan Miraldi
tag:danmiraldi.com,2005:Post/2105943
2013-11-24T17:47:49-05:00
2017-01-14T14:10:26-05:00
Elton John, T-Bone Burnett and the Diving Board
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/e6c0a7b0e40095694e8a6d903f9cd0815f3241bf/medium/eltonjohndivingboard.jpg?1385333217" class="size_m justify_center border_none" alt="" /><br>T-Bone Burnett is the recording industry’s go to Americana record producer. Sonically, he practically writes his name into everything he touches from the Grammy-winning <em>O Brother Where Art Thou?</em> soundtrack to Robert Plant and Allison Kraus’s <em>Raising Sand</em> duets collection to Gregg Allman’s under-rated solo album <em>Low Country Blues</em>. Burnett’s production style is stark and haunting and he always finds a means to highlight a vocalist's voice in both new and old ways. He did so with Leon Russell and Elton John on their 2010 acclaimed release <em>The Union</em>. Now, he and John have reteamed in the studio for John’s latest solo effort <em>The Diving Board</em>. The album was recorded and written over a matter of days and is an accolade-worthy effort. <br> <br>In some ways, the album recalls the simplicity of Sir Elton’s pre-<em>Goodbye Yellow Brick Road </em>era, a time when John and lyricist Bernie Taupin would hammer out bare bones piano rock songs, many with lyrics about the old American West. Like a lot of those early tracks, the instrumentation on <em>The Diving Board </em>has John’s voice front and center accompanied by the piano and with some bass and drums as well as some subtle string arrangements here and there. Burnett’s production style favors and often highlights vocalists. One of the big differences between Elton John then and now is that his voice is huskier from the boyant tenor he had in the 1970s. It is still a powerful voice, but a different one. Some of <em>Diving Board’</em>s best vocal performances are “A Town Called Jubilee”, “Ocean’s Away” “Can’t Stay Alone Tonight” and “Take This Dirty Water”. Much of <em>The Diving Board</em>’s material is rather somber sounding, which makes the subtly more uptempo songs like “Can’t Stay Alone Tonight” and “Take This Dirty Water”, with their light swinging rhythms, really pop. <em>The Diving Board</em> lacks the big pop hooks of the early Elton John canon, but with that being said, the underlying music and Taupin’s lyrics are really strong. Listening to this record is like having a bran muffin. It’s good for you. Elton John has enough gold and platinum records. He has reached an age and status where he has earned the right to make the music that moves him. It is quality stuff and T-Bone Burnett is just the right producer for the job. <br> <br>Essential Tracks: “Can’t Stay Alone Tonight”, “Oceans Away”, “Town Called Jubilee” & “Take This Dirty Water”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/2068728
2013-11-18T13:12:04-05:00
2017-01-14T14:10:26-05:00
Kings of Leon Hop Back On The Mechanical Bull
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/8df1461f4c99da29ea324fc59c940f2ca6f4c8f6/medium/kolmechanical-bull.jpg?1384797420" class="size_m justify_center border_none" alt="" /><br>To listen to the Kings of Leon’s <a contents="Mechanical Bull" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=DbQwIxDOzs4" target="_blank"><em>Mechanical Bull</em></a> is to hear the sounds of a machine humming back to life. After their ill-fated 2011 tour, the future of the KOL seemed uncertain. Rumors of a potential breakup circled the music world. Earlier this year, however, the band entered the recording studio. With the resulting album, it sounds like things are getting back on track. The band worked again with their longtime producer and collaborator Angelo Petraglia at KOL’s <a contents="music studio" data-link-label="" data-link-type="url" href="http://blueroommusicstudio.com" target="_blank">music studio</a>: The Neon Leon. <em>Mechanical Bull</em> was mixed by James Brown (not the soul singer) and engineered by Brent Rawlings. Between the two of them and Petraglia, the audio is excellent, especially with the guitar and drum production. The tones are crisp. <br> <br>On <em>Mechanical Bull</em>, the record is less of a step forward and more like a review of all the different personas the band has embodied over the last ten years. This idea is reinforced by reoccurring lyrical themes of “returning” and “comebacks” that are all over the back half of the album. One can hear traces of the <em>Youth & Young Manhood</em> and <em>Aha Shake Heartbreak</em>-era Kings of Leon in the opening track and first single, “<a contents="Supersoaker" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=izzY55ACUQo" target="_blank">Supersoaker</a>”. This is shown with the "Southern Strokes" flavored guitar arrangement and the tight drum production. Tracks like the fabulous “<a contents="Rock City" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=bA-e5kihmcY" target="_blank">Rock City</a>” and “<a contents="Temple" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=bT4jsdltN2c" target="_blank">Temple</a>” feel like more commercial cousins of some of the material on <em>Because of the Times</em>. The arena-rock/“Use Somebody”- era KOL are represented on <em>Mechanical Bull</em> with mid-tempo, but epically produced tracks like “<a contents="Wait for Me" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=MC8QcaMMVQE" target="_blank">Wait for Me</a>”, “<a contents="Tonight" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ZXO0_Sq7YDI" target="_blank">Tonight</a>” and the ass-kicking “<a contents="Coming Back Again" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=0b8vWnBNlgY" target="_blank">Coming Back Again</a>”. Lastly, the laidback <em>Come Around Sundown</em> KOL make a couple of appearances too: “<a contents="On The Chin" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=Da0z7UX2_iw" target="_blank">On The Chin</a>”, “<a contents="Comeback Story" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=_ui45mtL7hg" target="_blank">Comeback Story</a>” and the somewhat boring “<a contents="Beautiful War" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=Nf5--AFAfU8" target="_blank">Beautiful War</a>”. “<a contents="Comeback Story" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=_ui45mtL7hg" target="_blank">Comeback Story</a>” is really well produced, the guitar arrangement creates a lot of dynamic space and the vocal harmonies are both beautiful and catchy. <em>Mechanical Bull </em>gives the overall impression that sometimes it is necessary to understand where you have been in order to figure out where you are going. After a rough patch, the KOL have embraced their past, created a quality record and can now look towards the future.<br> <br>Essential tracks: “<a contents="Rock City”" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=bA-e5kihmcY" target="_blank">Rock City”</a>, “<a contents="Temple" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=bT4jsdltN2c">Temple</a>”, “<a contents="Comeback Story" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=_ui45mtL7hg" target="_blank">Comeback Story</a>” & “<a contents="Coming Back Again" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=0b8vWnBNlgY" target="_blank">Coming Back Again</a>”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/2020450
2013-11-09T21:03:32-05:00
2017-01-14T14:10:25-05:00
NEW Classic McCartney
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/df66f6004c652b6398ff8511e73e5eb3b2fa7219/medium/mccartneynew.jpg?1384048949" class="size_m justify_center border_" /><br><br>Paul McCartney has nothing left to prove. His greatness was secured decades ago, but yet he still finds the drive to keep pumping out new material. It is a testament to what a serious and vital artist he continues to be. McCartney can still write catchy pop songs. Are they as good as the legendary material of his “ever present past”, well . . . probably not, but he is certainly no slouch. The same can be said about his new collection, <em>NEW</em>, which is his best and catchiest album of the new millennium. Albums like 2002’s <em>Driving Rain, </em>2005’s <em>Chaos And Creation In The Backyard</em> and 2007’s <em>Memory Almost Full</em> all had some excellent tracks, but with <em>NEW</em>, McCartney is more consistent from song to song. <em>NEW</em>’s songwriting is classic McCartney. However, much of the production and instrumentation is very modern sounding with flashes of vintage sprinkled throughout. All in all, this dichotomy creates an interesting dynamic audio interplay between old and new. McCartney chose to work in multiple <a contents="recording studios" data-link-label="" data-link-type="url" href="http://blueroommusicstudio.com/blog/" target="_blank">recording studios</a> with four different producers: Giles Martin (son of Beatles producer George Martin), Paul Epworth (Adele), Ethan Johns (Kings of Leon) and Mark Ronson (Amy Winehouse). Each producer brings different production elements to the tracks, but <em>NEW</em> sounds very cohesive as it is united by McCartney’s voice and songwriting.<br> <br>The album tears to life with the energetic “<a contents="Save Us" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=0lZ4Ke9vTng" target="_blank">Save Us</a>” that comes off as Wings meets the Killers with Queenish harmonies. The first single “<a contents="New" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=BkbbP0ozyMs" target="_blank">New</a>” has a “Penny Lane” bounce to it and is a joyful track. “<a contents="On My Way To Work" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=mc4KqEFkzTI" target="_blank">On My Way To Work</a>” is Beatley as well, especially with the Indian-flavored breakdowns between verses. The stripped-down and folky “Early Days” is a beautiful reflective song that talks about Paul’s early friendship with John Lennon. You can hear the age in Paul’s falsetto, but it still gently delivers and adds a sense of genuine vulnerability to this heartfelt tune. “<a contents="Queenie Eye" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=5CfLUmVso30" target="_blank">Queenie Eye</a>” is another highlight. The backing vocal production is similar to the end of the Beatles’ “I Am The Walrus”. In an <a contents="interview" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=CNm79XCjxgE" target="_blank">interview</a>, McCartney explains that the chorus of "Queenie Eye" comes from a playground game he used to play as a kid. (It is worth noting that the lyric in chorus with the “O-U-T spells out” is also used in the somewhat obscure Beatles’ Christmas single “Christmas Time Is Here Again”.) Tucked neared the end of the album is the fantastic “<a contents="Looking At Her" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ka06CWHRYFI" target="_blank">Looking At Her</a>”. The track is both Beatley and blatantly modern at the same time. If there was one song that would have been cool to hear what the Beatles would have done with it, “<a contents="Looking At Her" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ka06CWHRYFI" target="_blank">Looking At Her</a>” is it. If you replaced the electronic musical elements in the chorus with a George Harrison sitar part, you would have something that could pass as a missing <em>Sgt. Pepper </em>or <em>Revolver</em> outtake. <br> <br>All in all, Paul McCartney’s <em>NEW</em> is pretty <em>freakin</em>’ great. At seventy-one, he delivers yet another awe-inspiring work that is easily one of 2013’s best records. <br> <br>Essential tracks: “<a contents="Looking At Her" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ka06CWHRYFI">Looking At Her</a>”, “<a contents="On My Way To Work" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=mc4KqEFkzTI" target="_blank">On My Way To Work</a>”, “<a contents="New" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=BkbbP0ozyMs" target="_blank">New</a>” & “<a contents="Queenie Eye" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=5CfLUmVso30" target="_blank">Queenie Eye</a>”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/1756925
2013-10-01T13:23:11-04:00
2017-01-14T14:10:25-05:00
Sheryl Crow’s Country Road
<img src="//d10j3mvrs1suex.cloudfront.net/u/16/c21099d8e54133874abaabc8528946fff924de20/medium/sheryl-crow.jpg" class="size_m justify_center border_" /><br>The common thread with veteran/aging rock stars is that once the hits dry up, they have four choices if they want to stay in the game: make a Christmas album, make a standards album, make a country album, collaborate with an up-and-coming rapper or some variation of all four. Sheryl Crow is a gifted songwriter and performer – no question. There is a reason she has stuck around for so long. Her first four albums were killer, especially her masterpiece <em>Sheryl Crow</em>. However, her career has cooled a bit over the last ten years. Her last two records were good in their own rights, but sounded as if she was having an identity crisis. 2008’s <em>Detours </em>was an attempt to recapture the magic of Crow’s first record and 2010’s <em>100 Miles From Memphis</em> was an exploratory Stax-style soul album. <br> <br>Twenty years after her debut, Crow, now fifty-one, has just released <em>Feels Like Home</em>, her first <em>country</em> album. For the most part, it works for her and might just be the boost her career needs. While not eclipsing anything pre-<em>C’mon C’mon</em>, it is an enjoyable enough disc and sounds like Sheryl is halfway still in her pop-rock territory and halfway testing the country terrain. <em>Feels Like Home</em> opens with the song “Shotgun”, one of those party-starting modern country road songs about driving her truck. The single “<a contents="Easy" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ST7btkkoaNU" target="_blank">Easy</a>” does not sound overwhelmingly country and should not be too much of a culture shock to her listeners. However, songs like “We Oughta Be Drinkin’” definitely feel like Crow has “dumbed things down” a bit in order to reach a wider audience, especially when you remember this is the woman who once wrote powerful socially conscious songs like “Love Is A Good Thing” which caused her record to be banned at Walmart. You could have argued similarly with Bob Dylan when he made <em>Nashville Skyline</em> in 1969, but <em>those were different times</em>. In her defense, she does briefly mention the United States’ trade deficit in “Best of Times”, but that’s about it. “Homecoming Queen” and “Waterproof Mascara” are reminiscent of some of the sappy country ballads Elvis covered in the early seventies while he was sweating it out in front of housewives in Vegas. Yet, Crow redeems herself on the ballad “<a contents="Callin’ Me When I’m Lonely" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=bGuwfpSg4eo" target="_blank">Callin’ Me When I’m Lonely</a>”. It is a full-on slow country affair and she pulls it off. “<a contents="Crazy Ain’t Origina" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=H_h6-94xHdI" target="_blank">Crazy Ain’t Origina</a>l” is another highlight, as is the bouncy half-country-half-Fleetwood-Mac “<a contents="Nobody’s Business" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=mGyFKN15usQ" target="_blank">Nobody’s Business</a>”.<br> <br>The key to enjoying <em>Feels Like Home</em> is to not overthink it. It is not Crow’s most profound work, but in terms of the pop-country genre, it’s pretty good. After surviving over twenty years in the music business plus cancer and Lance Armstrong, Sheryl Crow has saved up enough integrity, earning her the right to explore new territory and hopefully “have some fun”:)<br> <br>Essential tracks: “Nobody’s Business”, “Callin’ Me When I’m Lonely” and “Crazy Ain’t Original”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/1697972
2013-09-24T12:40:00-04:00
2017-01-14T14:10:25-05:00
The Rides Roar To Life
<div style="text-align: center; "><img src="//d10j3mvrs1suex.cloudfront.net/u/16/80943acd2b5999f9850fed2fdd1d1affd04eef8a/medium/the-rides.jpg?1380055420" class="size_orig justify_inline border_" alt="" height="290" width="300" /></div><br>The intergenerational blues-rock amalgamation of guitar heroes Stephen Stills, Kenny Wayne Shepherd and Electric Flag keyboardist Barry Goldberg is an event worthy of our accolades. Their debut offering, <i>Can’t Get Enough</i>, is a delicious gritty and soulful guitarfest. The production and performances are top notch. Everything sounds crisp, but at the same time authentic. This is hands down Stephen Stills’ best work since CSN’s underappreciated 1994 release, <i>After The Storm</i>. He sounds inspired trading guitar licks and sharing vocal duties with the much younger, but highly skilled Shepherd. Even though age has worn down Stills’ voice, his vocals have the most character. The hoarseness adds veracity to music that Shepherd’s youthful voice lacks.<br><br><i>Can’t Get Enough</i> is well paced, easily shifting from fiery rockers to slow-burning blues numbers. The set is made up of half covers and half strong originals such as, “Roadhouse”, “Only Teardrops Fall” and the title track. The solos on “Roadhouse” are an exciting way to open the album and set the mood. The Rides push themselves and boldly cover the Stooges’ “Search And Destroy” doing a Rolling Stonesish arrangement, and though not surpassing the original, that they pull off respectably. The band also explore Neil Young’s “Rockin’ In The Free World.” After several CSNY reunion tours, Stills’ must have been itching to sing lead on this one. The group also revisits an originally acoustic track off of <i>Stephen Stills 2</i> with “Word Game”. This new version is full on electric and rocks. All in all, <i>Can’t Get Enough</i> is promising and enjoyable enough to hope that these guys keep playing together. Don’t overlook this album!<br><br>Essential tracks: “Roadhouse”, “Search and Destroy”, & “Word Game”
Dan Miraldi
tag:danmiraldi.com,2005:Post/1627612
2013-09-15T14:50:00-04:00
2017-01-14T14:10:25-05:00
Bob Dylan's Self Portrait Period Revisited
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“What is this shit?” Greil Marcus famous wrote in the opening to his 1970 <i>Rolling Stone</i> review of Bob Dylan’s <i>Self Portrait</i>. In the decades since its release, <i>Self Portrait</i> continues to be one of Dylan’s most contentious albums. The primary reason being no one knows exactly what to make of it? After seven years of releasing ground breaking music through iconic albums like <i>The Freewheelin’ Bob Dylan</i>, <i>Highway 61 Revisited</i>,<i> Blonde On Blonde</i> and <i>John Wesley Harding</i>, it looked like (and sounded like) Dylan farted out <i>Self Portrait</i>. It was a capricious collection of rather sloppy covers of current popular folk songs, traditional folk ballads, as well as 1950s rock and roll tunes overlaid with gaudy string arrangements and lastly, loose live recordings from his performance at the 1969 Isle of Wight Festival (including a version of “Like A Rolling Stone” where Dylan stumbles over the lyrics). Dylan himself even acrimoniously said: “I just threw everything I could think of against the wall and whatever stuck, released it, and then went back and scooped up everything that didn’t stick and released that, too.” One could justify a feeling of stolidity when Columbia Records announced this summer that they would be releasing the two-disc <i>Another Self Portrait</i> as the tenth installment of Dylan’s Official Bootleg Series, covering his 1969-1970 <i>Nashville Skyline, Self Portrait</i> and <i>New Morning</i> periods. <br><br>
A few weeks ago, the world received this alternate version of Dylan’s musical history. In a way, the thirty-five-song collection exculpates Dylan from the fulminating reviews the original <i>Self Portrait </i>earned. The songs on this new collection are either alternate takes or variant mixes, a bulk of them coming from <i>Self Portrait</i> and <i>New Morning</i>. Many of the traditional folk songs that Dylan covered for <i>Self Portrait </i>are presented for the first time sans the overdubbed strings, thus allowing the austere beauty of Dylan’s interpretations of tunes like “Pretty Saro”, "Days of 49", “Alberta #3”, "Thirsty Boots" and “Spanish Is The Loving Tongue” to be fully appreciated. Dylan’s vocal on “Pretty Saro” is stunning; he has never sounded tenderer. Stripped down demos of originals like the acoustic “Went To See The Gypsy” and sparse piano version of “When I Paint My Masterpiece” are refreshing in their stark presentation, as is the vulnerable piano and violin rendition of "If Not For You." Forget <i>Self Portrait</i>’s enervating live version of “Like A Rolling Stone”. On<i> Another Self Portrait</i>, listeners get impassioned and rowdy renditions of “Highway 61 Revisited” and “I’ll Be Your Baby Tonight” from that same 1969 concert. Beatle fans experience the joy of hearing Dylan jam with George Harrison on an alternate take of “Time Passes Slowly” and the facetious “Working On A Guru”. Included also is an enjoyable second version of “Time Passes Slowly” without Harrison, where the instrumentation and dynamic changes sound like they were designed for a Joe Cocker record. Additionally, from the <i>New Morning</i> outtakes is an interesting version of “New Morning” with “Got To Get You Into My Life” style horns, as well as an alternate version of “Sign On The Window” where the orchestral overdubs work better to add emotion to the track than the overdubs on some of the original <i>Self Portrait</i> material. <br><br>
Not everything on <i>Another Self Portrait</i> is a winner. There are skippable tracks like his cover of “Annie’s Going To Sing Her Song”, as well as the inert low-fi <i>Basement Tape</i> outtake of “Minstrel Boy”, the insipid electric piano version of “Went To See The Gypsy” and the prosaic “Wigwam”. However, those are moot points when looking at the depth of this thirty-five-song set. All in all, <i>Another Self Portrait</i> stands as further testament of Bob Dylan’s greatness and provides greater insight into his development as a songwriter and interpreter. Outside of the ten volumes and counting of his Official Bootleg Series, Dylan has released thirty-five studio albums. The fact that he and his label can still dig through his archives and present florid amounts worthwhile material is redoubtable proof that he will continue to stand as a titan of music revered by generations to come.<br><br>
Essential tracks: "Pretty Saro", "Highway 61 Revisited" (Live at the Isle of Wight), "If Not For You", "Thirsty Boots", "Alberta #3", & "Spanish Is The Loving Tongue".<br><br type="_moz">
Dan Miraldi
tag:danmiraldi.com,2005:Post/1363240
2013-08-08T12:15:00-04:00
2017-01-14T14:10:25-05:00
Eleanor Friedberger Hits New Heights on Personal Record
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Personal Record</i> is the fabulous new album from Eleanor Friedberger. With the help of collaborator Wesley Stace (A.K.A. John Wesley Harding), Friedberger has crafted a rich collection of great songs with great lyrics. Each song tells a story and contains a treasure-trove of sharp and beautiful imagery. It is sometimes difficult to find artists who have both strong pop sensibilities as well as rich lyrical content. Friedberger manages to capture both well. Prime examples are the punchy single, “<a href="https://www.youtube.com/watch?v=74-iyAoMa6Y" target="_new">Stare at the Sun</a>” as well as, “She’s a Mirror” and “When I Knew”. If I were to sum up <i>Personal Record</i>’s sound, it would be: an indie-pop-rock version of 1970s Van Morrison and Dylan with flashes of Patti Smith and the Strokes. It’s a tall order, but Friedberger has definitely made one of the year’s best records.<br><br>
Essential tracks: “When I Knew”, “<a href="https://www.youtube.com/watch?v=74-iyAoMa6Y" target="_new">Stare at the Sun</a>” & “She’s a Mirror”.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/1208899
2013-07-17T05:35:17-04:00
2017-01-14T14:10:25-05:00
Summer Sounds With New Music From Surfer Blood
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Surfer Blood play very poppy throwback rock and roll with lots of fuzz and distortion. With their latest record, <i>Pythons</i>, they delightfully sound like a dirtier version of early Rooney meets Weezer. The end result is a very enjoyable summer record that is even catchier than their last full-length album, <i>Astro Coast</i>. Surfer Blood provide a number of big surf-inflected choruses with tracks like: “Say Yes To Me”, “Blair Witch” and the single “<a href="https://www.youtube.com/watch?v=T99JYIq0Xtk">Demon Dance</a>”. Things get kind of boring on the slow reverbed-out “Slow Six” as well as “Needles And Pins”. Other than that, <i>Pythons</i> is pretty solid all around. The entire album can be streamed by clicking <a href="https://www.youtube.com/watch?v=lwM-jVN4DJw" target="_new">here</a>. <br><br>
Essential tracks: “<a href="https://www.youtube.com/watch?v=T99JYIq0Xtk" target="_new">Demon Dance</a>”, “Squeezing Blood” & “Say Yes To Me”. <br><br><br><br><br type="_moz">
Dan Miraldi
tag:danmiraldi.com,2005:Post/1201855
2013-07-16T09:55:00-04:00
2017-01-14T14:10:25-05:00
Black Sabbath Storm Back
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The reunion of Ozzy Osbourne, Tony Iommi and Geezer Butler is an occasion worthy of a celebration. It is a shame that business issues kept Bill Ward from participating, thus denying fans a reunion of the full original line up. However, Rage Against the Machine’s Brad Wilk does an admirable job in impersonating the swing feel of Ward’s drumming. <br><br>
Despite Ward’s absence, <i>13</i> sounds like Black Sabbath. Rick Rubin produces and guides the band well. There are some hints of modern production, but ultimately these songs could have come out in the 70s. <i>13</i> is dark, gloomy and heavy. It is the Ozzy-era band’s strongest work since <i>Sabotage</i>. Ozzy sounds best when he is with Sabbath and Sabbath is best with Ozzy (although Dio did an admirable job). On each track, Iommi still delivers in the riff department and his solos are definitely treats. Butler sounds solid too, adding his agile rumble to the tracks. Obvious highlights are “God Is Dead?” and “Loner”. In a way, they feel like updated cousins of “War Pigs” and “N.I.B.” respectably. “Age of Reason” has an excellent solo from Iommi and “Damaged Soul” has great breakdown with Ozzy blowing away on harmonica. In the end, if you can get over the exclusion of Bill Ward, then <i>13</i> becomes the Sabbath record for which you have been waiting.<br><br>
Essential Tracks: “Loner”, “Damaged Soul” & “Age of Reason”.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/1056116
2013-07-02T11:15:00-04:00
2017-01-14T14:10:25-05:00
Houndmouth's Shining Debut
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Houndmouth are a band from Indiana. Their music fuses the Americana pop sensibilities of the Lumineers with the grit and storytelling of the Band. Their debut album, <i>From The Hills Below The City,</i> was released in early June. Great tracks like “Ludlow”, “<a href="https://www.youtube.com/watch?v=hws_N4St0BU" target="_new">Penitentiary</a>”, and “Casino (Bad Things)” tell tales of survival, hard times and addiction in a brutal world. These songs are delivered with engaging and cinematic lyrics, as well as sing-along Appalachian harmonies. The music goes down pretty easily on the first listen. Many of the songs are mid-tempo, but the drums hit hard and drive the music while the tasteful, but fiery electric guitar work adds its own drama and exciting crescendos to the music. The latter half of album loses a little steam in few places, but on the whole, it’s a damn good debut and worthy of your time. <br><br>
Essential tracks: “Ludlow” “<a href="https://www.youtube.com/watch?v=hws_N4St0BU" target="_new">Penitentiary</a>” & “Casino (Bad Things)”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/994236
2013-06-22T07:50:30-04:00
2017-01-14T14:10:24-05:00
Reissue: Deep Purple Live In Copenhagen 1972
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Over the next year, Deep Purple will dig into the vaults for their “The Official Deep Purple (Overseas) Live Series”. The collection is made up of ten concerts recorded outside of England between 1969-1976. In January, they unveiled concert number one, <i>Paris 1975</i>, which captures Ritchie Blackmore’s final performance with the band before the 1980s reunion. Deep Purple is on fire and the audio is top notch. <br><br>
Earlier this month, the second installment, <i>Copenhagen 1972</i> came out. It captures the Mark II Deep Purple at a time when their iconic album <i>Machine Head</i> was already recorded, but was not yet released. From that album, they preview “Highway Star”, “Lazy” and “Space Truckin’”. Interestingly, “Smoke On The Water” was not played at the Copenhagen concert, showing that the band did not realize what a huge hit it was soon going to be. To round out the two-disc collection, Deep Purple have include three bonus tracks (“Smoke On The Water” is one of them) from a 1973 live show in New York as well as a 1971 Australian radio interview. <br><br>
As far as the performance, the band plays with a lot of energy and Ian Gillan really shows that he can squeal with best classic rock singers. The audio isn’t bad, but lacks the crispness of the <i>Paris 1975</i> concert. It is a little muddier and sounds more like it was recorded for a radio broadcast or TV instead the quality of a traditional live album. The New York bonus tracks are of higher audio fidelity than the Copenhagen tracks. However, listening to this live recording, one thing is clear: Deep Purple is one hell of a live band and can deliver the goods. Fans of the band’s live work should check this out. <br><br>
Essential tracks: “Black Night”, “Lucille” & “Strange Kind of Woman (Copenhagen version)” <br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/929678
2013-06-12T00:00:00-04:00
2017-01-14T14:10:23-05:00
Lou Doillon Debut Goes Places
<div style="text-align: center; "><img src="//d10j3mvrs1suex.cloudfront.net/u/16/cedf4d32f48d7bb22d2d0ecd443f92452ee6804c/original/LouDoillon.jpg?1371090545" class="size_orig justify_inline border_" alt="" height="280" width="280" /></div><br>French model and actress, Lou Doillon’s debut record, <i>Places</i>, comes out this coming Tuesday. (Because the <i>Rolling Clone Blogazine</i> is so freakin’ cool, I was supplied with an advanced copy.) Places is a subdued record with some really great lyrics and songwriting. It is one of those albums that takes a second or third listen to get into, but on the whole is pretty darn good. Doillon’s voice is sweet and pleasing with an ever so slight bite to it. It goes well with the organic production: acoustic guitars, piano and understated horns. One can hear bits of Dido minus the electronics aspect as well as Adele, although Doillon’s voice is not as “big” as Adele’s.<br><br>The album opens with a song called “I.C.U.”, a cinematic love song describing how her mind plays tricks on her as she searches for her lost lover. She sees him everywhere, but he is not really there. It’s a good song and has Dylanesque aspects with its lyrical imagery. “Devil Or Angel” is another noteworthy song. The track is the first single and has definite adult contemporary radio potential. Most of Doillon’s songs are mid-tempo or slower ballads, so when she bumps the tempo up just a bit in “Questions And Answers” it is a nice change of pace. The song feels really good and is a definitely highlight. Other strong songs are the title track as well as “Make A Sound”. All in all, fans of chill singer-songwriters should definitely check out Lou Doillon’s debut. It’s quite good.<br><br>Essential tracks: “I.C.U.”, “Devil Or Angel” & “Questions And Answers”.
Dan Miraldi
tag:danmiraldi.com,2005:Post/911221
2013-06-10T11:54:19-04:00
2017-01-14T14:10:23-05:00
The Olms: Pete Yorn & J.D. King Go Back the 60s
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Since 2010, it seemed that Pete Yorn had been laying low. Little did anyone know that he had teamed up with J.D. King to form the Olms? Last week, they released their self-titled debut. <i>The Olms</i> is a beautiful album of 1960’s west coast-flavored pop and folk filled with layers of lush Byrds-style harmonies that enrich this extremely likeable collection of songs. The opening track “<a href="https://www.youtube.com/watch?v=FAq7nn8vHzw" target="_new">On The Line</a>” gets the time machine rolling. The song is reminiscent of the Strawberry Alarm Clock’s “Incense and Peppermints”, especially with its vintage organ and the way the cowbell is used. The melancholy (but eventually happy) “<a href="https://www.youtube.com/watch?v=H-GZZQozskQ" target="_new">Someone Else’s Girl</a>” is the best song on the album with it’s catchy “while I wait” chorus and pretty harmonies. It is infectious and will get stuck in your head, but in a good way. The whole album is pretty strong, but other standouts are the Monkees-ish “Twice As Nice”, the country western “She Said No” and Yorn’s “<a href="https://www.youtube.com/watch?v=xw2Tgq4yIoc" target="_new">Wanna Feel It</a>”. Of all the songs on the album, “<a href="https://www.youtube.com/watch?v=xw2Tgq4yIoc" target="_new">Wanna Feel It</a>” sounds the most modern and is probably the most accessible to fans of Yorn’s solo work. His music has always had always shown a deep respect and knowledge of 60s and 70s rock music. However, by teaming up with King, the two have really embraced the music of the 60s and created something special.<br><br>
Essential tracks: “<a href="https://www.youtube.com/watch?v=H-GZZQozskQ" target="_new">Some Else’s Girl</a>” “Twice As Nice” & “<a href="https://www.youtube.com/watch?v=xw2Tgq4yIoc" target="_new">I Wanna Feel It</a>”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/890089
2013-06-06T11:37:00-04:00
2017-01-14T14:10:23-05:00
Holy Smoke On The Water!
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Many people may not know it, but Deep Purple still make records. Not only that, they still make good records. 2003’s <i>Bananas</i> and 2005’s <i>Rapture of the Deep</i> all contained a lot of strong material that keep with the spirit of their music from the early to mid-seventies. The years of chemistry between the classic Mark II-era Deep Purple members, Ian Gillan (vocals), Roger Glover (bass) and Ian Paice (drums) is still undeniable. It’s been nearly twenty years since Ritchie Blackmore departed Deep Purple for the second time. Since then, Steve Morse has done an admirable job coming through in the guitar hero department. Don Airey who replaced the late Jon Lord when he retired in 2002 is the band’s most recent addition and he doesn’t disappoint either. <br><br>
A few weeks ago, Deep Purple delivered again with the release of <i>Now What?!</i>, which was produced by the legendary Bob Ezra (Pink Floyd’s <i>The Wall</i>, KISS’s <i>Destroyer</i>, Alice Cooper’s <i>Welcome To My Nightmare</i> etc.). With Ezra and the classic combination of distorted organ and guitar interplaying with Gillan’s vocals and the band’s tight rhythm section, Deep Purple have crafted one large delightful dose of classic rock nostalgia. Is <i>Now What?! </i>as good as works like <i>Machine Head</i> or <i>In Rock</i>? No, but there is still plenty to appreciate. For example, the opening track, “A Simple Song”, starts out quiet and unassuming before kicking to life in true Deep Purple fashion with a shift in dynamics and the organ ablazing. Other strong tracks that recapture their 1970s sound are “Out of Hand”, “Après Vous”, “Vincent Price” and “Body Line”. “All The Time In The World” is a good mid-tempo song, but feels more like Rumours-era Fleetwood Mac tune than Deep Purple. Of course, <i>Now What?!</i> is not without a few missteps. “Hell To Pay” with its cheesy gang vocal sounds a little too KISS. Ezra is most likely to be blamed for that. “Uncommon Man” could be a good song, but suffers from the unfortunate choice of using hokey synthesized horns – almost making the tune sound like something belonging as the background music to a retro medieval-themed video game. <br><br>
However all in all, <i>Now What?!</i> proves that this truly under-appreciated band (at least in America) can still deliver. At this point in their career, Deep Purple know what kind of albums they want to make. They also know how to please their listeners and tastefully achieve that sound without it coming off as forced or recycled. Fans of classic hard rock should be sure to check out this album. <br><br>
Essential tracks: “A Simple Song” “Out of Hand” & “All The Time In The World”. <br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/717823
2013-05-10T11:16:00-04:00
2017-01-14T14:10:23-05:00
Ready To Die Finds Iggy & The Stooges Quite Alive
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Forty years ago, Iggy & the Stooges released <i>Raw Power</i>, an adrenaline-filled classic that would lay down the groundwork for punk rock. <i>Ready To Die </i>marks the first time since then that the <i>Raw Power</i>-era Stooges have recorded together. In some respects, <i>Ready To Die</i> tries to be "<i>Raw Power II</i>" with incendiary guitar attacks on tracks like "Burn", "Job", "Dirty Deal" as well as the title track. However, the Stooges have allowed their musical pallet to expand a little with addition of raunchy-sounding horns ("Sex And Money" and "<a href="https://www.youtube.com/watch?v=MxurFcz6g9Y" target="_new">DD's</a>") and by recording three slower reflective ballads. Unfortunately, the ballads are pretty skippable with the exception of "<a href="https://www.youtube.com/watch?v=flnKMujoP_U" target="_new">Beat That Guy</a>", which still packs a punch despite its slower tempo. It is definitely one of the album's most compelling tracks. <br><br>
As with most of Iggy & the Stooges' work, the music skates the line between the juvenile and the profound. For example, the politically-tinged "<a href="https://www.youtube.com/watch?v=j_0b8RLJuPo" target="_new">Gun</a>" (whose opening riff is very similar to "Raw Power") is a critique on many American's attitudes towards guns. Then, there are songs like "<a href="https://www.youtube.com/watch?v=MxurFcz6g9Y" target="_new">DD's</a>" with lyrics that sound like they were written by a horny middle school boy. Much of <i>Ready To Die</i> oscillates between these two extremes. On the whole, this new album should bring a smile to fan's faces. It shows that Iggy and the boys still have some fight in them and that they should keep on kicking ass before another one of them dies. <br><br>
Essential tracks: "<a href="https://www.youtube.com/watch?v=flnKMujoP_U" target="_new">Beat That Guy</a>" "Job" & "Ready To Die". The entire album can be streamed <a href="https://www.youtube.com/watch?v=VnFKQFWDK4s" target="_new">here</a>.
Dan Miraldi
tag:danmiraldi.com,2005:Post/709734
2013-05-09T12:10:58-04:00
2017-01-14T14:10:23-05:00
She & Him's Bland Volume III
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Zooey Deschanel and M. Ward had something special when they put out She & Him <i>Volume I</i>. It was a nice chill sixties throwback record that combined Dusty Springfield-style vocals with Brian Wilson influenced harmony arrangements. She & Him also enabled Deschanel an opportunity to strut her musical talents outside of the occasional song in films like <i>Yes Man</i> and <i>Elf</i>.</div>
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Five years later and after a <i>Volume II</i> and a Christmas record, She & Him now have released <i>Volume III</i>. On <i>Volume III</i>, the recipe hasn't changed much. It is a pleasant enough record, but as with a number of franchises, by the time the third installment rolls around, some things have turned a little stale. Overall, the material isn't as compelling or as inspired as what was on <i>Volumes I & II</i>. There are strong moments with Deschanel originals like "I've Got Your Number, Son", "I Could've Been Your Girl" and "Snow Queen" as well as the duo's renditions of covers like "Hold Me, Thrill Me, Kiss Me" and "Sunday Girl". Then there the droughts of blandness: "London", "Baby" and "Together". In the end, Volume III is not a "bad record" more like a "meh record". <i>Volume III</i> is better than nothing from this talented duo, however Ward and Deschanel can and have done better.</div>
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Essential tracks:<br><br>
"I've Got Your Number, Son" "I Could've Been Your Girl" & "Sunday Girl"
Dan Miraldi
tag:danmiraldi.com,2005:Post/627233
2013-04-28T10:38:38-04:00
2017-01-14T14:10:23-05:00
The Glorious Return of Fall Out Boy
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A few minutes into <i>Save Rock And Roll</i>, the epiphany hits that the world is a better place with Fall Out Boy in it. After a three-and-a-half-year hiatus, they are back with a delightfully over-the-top record brimming with dance-infused rock and ginormous pop hooks. Look out for cameos from all over the spectrum from Big Sean to Courtney Love and Elton John. Bonus! <i>Save Rock And Roll</i> is hardly a nostalgia record. The band picked up right where they left off and continued pushing forward. On <i>Save Rock And Roll</i>, they have learned some new tricks and some of the songs sound rather “clubby”, but essential elements like the soulful nature of Patrick Stump’s voice and delightful wit of Pete Wentz’s lyrical word play anchor the album as another FOB classic. Check it out. It should leave fans grinning ear to ear. <br><br>
Essential tracks: “Alone Together” “Just One Yesterday” & “Young Volcanoes”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/575696
2013-04-21T12:02:11-04:00
2017-01-14T14:10:23-05:00
The Thermals Hold Their Ground
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On <i>Desperate Ground</i>, the Thermals do what they do best. They stay lean and mean, while churning out ten very to the point songs (the longest which clocks out at 3:13). Like the Ramones before them, on <i>Desperate Ground</i>, they don’t mess with the recipe. They deliver the goods with intense brevity. The whole album flows by beautifully in a whirlwind 26 minutes and 23 seconds. Each track is well-crafted, fast and driving punk rock, ringing with the self-righteousness and low-fi charm that defines the Thermals’ sound. <i>Desperate Ground</i> stands comfortably when compared with other Thermals’ masterpieces such as <i>The Body, The Blood, The Machine</i> and <i>Now We Can See</i>. There is not a dud song on this album. Two tunes that kick a little extra ass are “<a target="_new" href="https://www.youtube.com/watch?v=2jy7RfsPVgk&list=PLb94Zw9KCu-dhpExnnzJkIyggVeUMkbWm">You Will Find Me</a>” and “<a target="_new" href="https://www.youtube.com/watch?v=E1mOGw_xN_A&list=PLb94Zw9KCu-dhpExnnzJkIyggVeUMkbWm">Faces Stay With Me</a>”. Also, the closer, “<a target="_new" href="https://www.youtube.com/watch?v=LNLIqL7JiX0">Our Love Survives</a>” stands out as well. In addition to be an excellent song, it’s message of love triumphing over evil and adversity might resonate strongly with those who suffered while witnessing the horror that occurred at the Boston Marathon. Even though the record came out the day after the attack and the song was clearly written before Monday’s tragedy, it coincidentally has some parallels (admittedly not a perfect match) to the eulogy given by President Obama at the victims’ funeral. All in all, the Thermals have made a consistently strong record that won’t disappoint their fans.</div>
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Essential tracks: “You Will Find Me”, “Faces Stay With Me” and “Our Love Survives”. <br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/574458
2013-04-21T05:33:17-04:00
2017-01-14T14:10:23-05:00
Strokes’ Hit Highs & Lows On Comedown Machine
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Don’t write the Strokes off. If they want to, they should continue to make albums or at least EPs. Sure they haven’t made an album as explosively awesome as their debut, <i>Is This It?</i>, since well . . . <i>Is This It?</i>, but each of their subsequent albums has contained at least some strong material. 2011’s <i>Angles</i> included “Under Cover Of Darkness” which will stand as one of the band’s all time best songs. Have humbled expectations and check out their latest, <i>Comedown Machine</i>, because it too has some worthy tunes even if there is some filler. <br><br>
The modus operandi for <i>Comedown Machine</i> is moments of classic Strokes interspersed with some 1980s new wave-influenced music as well as a few other experiments. For songs that are more “old school” Strokes, check out “All The Time” and “50/50”. “80s Comedown Machine” is a cool mellow song that fits in the vein of some of the material the Strokes did on <i>First Impressions Of Earth</i>. The opener, “Tap Out” is pretty decent too and would have fit well on<i> Angles</i>. “Welcome To Japan” sounds like they are trying to be the Virgins, but it is still fun. The dancy “Happy Ending” is one of the album’s most compelling songs and definitely warrants a listen. The rest of the album is a jumbled and mixed bag. <i>Comedown Machine</i> does indeed get better with each listen, but as mentioned earlier; it combines quality Strokes material with . . . other stuff.<br><br>
Essential tracks: “Happy Ending”, “Tap Out”, & “50/50”. The album can be streamed <a target="_new" href="https://www.youtube.com/watch?v=oIqkPGBjHIw">here</a>.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/569116
2013-04-19T17:00:00-04:00
2021-05-06T11:53:28-04:00
A New Day For David Bowie
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After heart problems caused him to cancel the rest of his 2004 tour, the world was left wondering where David Bowie had gone? Was he done making music? Had he had enough and just wanted to live quietly? Luckily, Bowie had a surprise for everyone. On his sixty-sixth birthday, he released a new single and announced that a new album was on its way. That record, <i>The Next Day</i>, arrived in stores last month. It is a vibrant record that testifies that Bowie still has plenty of fire in him. Sonically, the album connects with the music he made (<i>Heathen</i> and <i>Reality</i>) before he disappeared. Those threads are there, as well as a light sprinkling of moments that recall his sounds during the 1970s and 80s. Yet Bowie for the most part pushes things forward. <i>The Next Day</i> sounds modern, but in the way that Bowie does what he always does; evolve.<br><br>
With <i>The Next Day</i>, Bowie doesn’t shortchange listeners, delivering fourteen strong new songs (seventeen if you get the deluxe version). Needless to say, there is a lot to appreciate, so I will hit the highlights. The opener and title track rocks. Lyrically, it talks about being near death, but the passion in Bowie’s singing proves that he’s not ready to call it a day. “The Stars (Are Out Tonight)” is another solid tune that would have also fit well with the songs on <i>Reality</i>. “Valentines Day” is a treat, because there is a touch of Ziggy Stardust-era Bowie in it. It’s still feels modern, but also could be played on a set list next to something like “Starman”. Later on the record, he really rocks on “(You Will) Set The World On Fire” and there is a shredding guitar solo provided by Earl Slick. “I’d Rather Be High” and “Boss Of Me” are also quite strong. By the end of <i>The Next Day</i>, you have to admit that Bowie is still great. He’s still weird and he’s back and we should be thankful. <br><br>
Essential tracks: “The Next Day”, “Valentines Day” and “(You Will) Set The World On Fire”.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/552843
2013-04-17T15:45:00-04:00
2017-01-14T14:10:23-05:00
New Hendrix Treasures
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The fact that the people controlling the Jimi Hendrix estate are still able to find quality unreleased Hendrix recordings is a testament to just how prolific the man was. He needlessly died too young, but still managed to bang out an impressive body of work. <i>People, Hell and Angels</i> is the latest installment in the series of “new” archival releases from Experience Hendrix LLC. It is worth a listen, especially if you are a diehard fan. Is it the greatest Hendrix album? Of course not and not every track is a killer, but there is still a good amount of tasty guitar playing to be appreciated. <br><br>
A bulk of the material comes from experimental sessions and jams with different friends and musicians following the demise of the original Jimi Hendrix Experience. Hendrix was looking for his new sound and finding new bursts of inspiration. The opener, “Earth Blues”, is a more barebones version from the one that appears on <i>First Rays of the New Rising Sun</i>. Although, this newly released take definitely has its own distinctive charm, because of its rawness. Also of note is “Somewhere” which features Stephen Stills on bass. It has a sexy slow bluesy groove to it. “Let Me Move You” features saxophonist Lonnie Youngblood on lead vocals while Hendrix stabs away on guitar. The resulting recording is a blast, but sounds more like a Wilson Pickett tune instead of classic Hendrix. The version of “Izabella” included here has an impressive guitar solo, but the band sounds rather loose. “Easy Blues” is nothing to write home about either. Songs like “Crash Landing” and “Inside Out” would later develop into “Freedom” and “Ezy Ryder” respectively. However, the versions on <i>People, Hell and Angels </i>have a lot of fire and provide interesting insights into Hendrix’s songwriting development. All in all, People, Hell and Angels has some great moments which far outnumber the mediocre ones. It is a reminder of just how talented Hendrix was, even if he was just jamming with his friends. <br><br>
Essential tracks: “Earth Blues”, “Somewhere” & “Crash Landing”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/542340
2013-04-16T12:21:22-04:00
2017-01-14T14:10:23-05:00
Young Bugg Gains Speed!
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Last week, Jake Bugg’s self-titled debut album was released in the United States. The nineteen-year-old has done well. A lazy comparison would be to say that he is trying to channel young Bob Dylan. There are some songs like “Lighting Bolt” and “Country Song” where Bugg’s voice has that Dylany nasality. However, content-wise none of these songs are really political or as whimsical as Dylan. A better comparison is to say that Bugg sounds more like Donovan meets an edgier Peter Noone of the Herman’s Hermits with a touch of Bright Eyes. At times, there’s even a touch of the Everly Brothers. All in all, this is a very pleasant record and marks a solid debut from an artist with a lot of potential. <i>Jake Bugg</i> has a great 1960s throwback sound, but at the same time is crisply modern in its production. In a way, its like what Mark Ronson did for Amy Winehouse’s retro soul Back To Black. With Jake Bugg, it is more like neo-British Invasion.<br><br>
The opening track, “<a target="_new" href="https://www.youtube.com/watch?v=fY0oPg1h8fQ">Lightening Bolt</a>” is already gaining speed with its usage in a Gatorade commercial. However, there are a number of real gems such as the irreverent “<a target="_new" href="https://www.youtube.com/watch?v=J9XwFecNXyU">Two Fingers</a>”, the sincere “Simple As This” and the very cinematic “<a target="_new" href="https://www.youtube.com/watch?v=_est5zPL6eo">Seen It All</a>”. <br><br>
Essential tracks: “Two Fingers”, “Simple As This” & “Seen It All”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/388437
2013-03-20T12:20:00-04:00
2017-01-14T14:10:23-05:00
Tegan and Sara’s Full-On Pop Catharsis
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Tegan and Sara are back. It’s been a process, but they have successfully reinvented themselves once again. The two started out as an acoustic duo, but by the time they released 2009’s <i>Sainthood</i>, the sisters had successfully transformed into an indie rock outfit. With their brand new album, <i>Heartthrob</i>, Tegan and Sara have gone full-on pop. Don’t worry; it is glorious! The new album sits comfortably next to earlier masterpieces <i>So Jealous</i> and <i>The Con. </i>This is because with <i>Heartthrob</i>, the music still carries the emotional catharsis that makes Tegan and Sara songs Tegan and Sara songs. However, now you can dance to them! <br><br><i>Heartthrob</i> is a consistently solid record and should be enjoyed in its entirety. The crown jewel is the opening track, “<a target="_new" href="https://www.youtube.com/watch?v=9e9NSMY8QiQ">Closer</a>”. It is very fun and dance floor friendly. Imagine the catchiness and shiny production of a Katy Perry tune mixed with lyrics of substance and top-notch songwriting. The duo has always known how to hit listeners in the gut. Throughout their career, break-up songs have always been Tegan and Sara’s bread and butter and there are a number of good ones on <i>Heartthrob</i> such as: “Shock To Your System”, “How Come You Don’t Want Me” and “I’m Not Your Hero”. With <i>Heartthrob</i>, the intensity is still present, but the poppy production enables everything comes through a little shinier and sweeter.<br><br>
Essential tracks: “<a target="_new" href="https://www.youtube.com/watch?v=9e9NSMY8QiQ">Closer</a>”, “How Come You Don’t Want Me” and “I’m Not Your Hero”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/292031
2013-01-29T04:35:00-05:00
2017-02-01T20:12:00-05:00
Free Energy Bring It With New LP
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“<i>I feel so boss – yeah! Making out with your lip stick gloss</i> . . .” Be glad the world didn’t end in 2012, because then you would be denied the joy of Free Energy’s new album <i>Love Sign</i>. The Philly-based band’s sophomore record is a guaranteed good time loaded with huge sing-a-long hooks and a healthy amount of cowbell. Within <i>Love Sign</i>, one can hear the influences of classic rock acts such as T. Rex, the Cars and Thin Lizzy in the DNA of the music, but at the same time, the production is very current and brings a freshness to the music. “<a target="_new" href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=3218843">Electric Fever</a>”, “Girls Want Rock” and “Hangin” (which is quoted at the beginning of this piece) are all ass-kicking power pop jams. However, the real jewel is the summery ballad “True Love”. It’s an understated love song that builds over 80s-style synths and cool programmed beats. The closer, “Time Rolls On” is another treat. It’s a mid-tempo song that drives under, hypnotic drum work, crunchy guitar and horn accents. All in all, Free Energy has made one of those fun pop-rock records that tastefully bottles youthful romanticism without letting nostalgia get the best of it. <i> Love Sign</i> is an intoxicating reminder of summer nights where each one held its own potential for an epic adventure. So with that frame of mind, hop in your car, put the record on and let the good times roll!<br><br>
Essential Tracks: “<a target="_new" href="https://www.youtube.com/watch?v=AKdTNUBO3fc">Electric Fever</a>”, “True Love”, “Girls Want Rock”<br><br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/274743
2013-01-03T15:15:00-05:00
2017-01-14T14:10:22-05:00
The Rolling Clone Blogazine’s Best LPs of 2012
2012 was filled with great music and without further ado . . .<br><br><b>The Top 5</b><br><br><b>1.) Foxy Shazam – <i>The Church of Rock and Roll</i></b><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/aac81604f9b7511ac20ff861e290c39f30d73f6d/medium/foxyshazam.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="300" width="300" /><br><br>Foxy Shazam are one of the most exciting up-and-coming bands. In addition to being an incredible live band, their latest album, <i>The Church of Rock and Roll</i>, doesn’t quit. Click <a href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=2219537" target="_new">here</a> to check out RCB’s full review.<br> <div>
<b>2.) Grace Potter & the Nocturnals – The Lion The Beast The Beat</b><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/209ce5b293fbe19e8232b4ce44ca29bb30ca399b/medium/gracepotter.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="300" width="300" /><br> </div>Grace Potter is one of rock music’s most under-rated vocalists and her band is absolutely fantastic. With <i>The Lion The Beast The Beat</i>, they shine. The album is an incredibly rich work complete with rockers, ballads and mid-tempo songs. Check it out, it is top-notch!<br><br><b>3.) Jack White – </b><i><b>Blunderbuss</b></i><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/491597514cb4f1a494f3423b1389cb9f1435d9a4/medium/Jackwhite.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="300" width="300" /><br><br>In 2012, it was wonderful to see Jack White back in action. With <i>Blunderbuss</i>, he finds his own unique Nashville-influenced sound. This is Jack’s strongest album since the White Stripes' <i>Get Behind Me Satan</i>. He and his band sound great and his lyrics are razor sharp.<br><br><b>4.) Green Day –</b><i><b> ¡Uno! ¡Dos! ¡Tre!</b></i><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/5502d12c4304050bea7db72ae5c8660ae09fe72a/original/greenday.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="280" width="280" /><br><br>Technically these are three albums, but they are all a part of the same grand concept. After two politically pointed rock operas, Green Day are back and ready to have some fun (resuming once Billie Joe is back in action). These songs show them embracing their roots while also proving that they aren’t afraid to try out some new tricks. With <i>¡Uno! ¡Dos! ¡Tre!</i>, Green Day are incredibly ambitious, but they have backed themselves up by creating three albums packed with great songs.<br><br><b>5.) Bruce Springsteen – </b><i><b>Wrecking Ball</b></i><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/5735311ec9e24456f7b5e69ec1d5ad7559931b2d/medium/bruce.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="300" width="300" /><br><br>Bruce Springsteen has always let his moral compass guide his songwriting. <i>Wrecking Ball</i> is no different; he calls out the Wall Street corruption, while providing anthems for every American. It is an record of blunt honesty, but still has an underlying message of undying hope. Springsteen has never stopped being relevant and with <i>Wrecking Ball</i>, he proves that he thankfully is not going away anytime soon!<br><br><b>And The Honorable Mentions . . . </b><br><br><b>6.) Ben Kweller – </b><i><b>Go Fly A Kite</b></i><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/e8430c7129dcc03af10b22f77fa98a5f22aea19f/medium/benkweller.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="300" width="300" /><br><br>In 2012, Ben Kweller gave fans this nugget of power-pop bliss. Read the full review <a href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=2219537" target="_new">here</a>.<br><br><b>7.) The Lumineers – </b><i><b>The Lumineers</b></i><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/cb8bbfb72686d1664ea45a74d4930fd5f8fdeb22/medium/lumineers.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="300" width="300" /><br><br>2012 was the breakout year for the Lumineers and their folky Americana tunes. Luckily for the music fans, “Hey Ho!” isn’t the Lumineers’ only good song. Their self-title debut has a lot to enjoy.<br><br><b>8.) Van Halen – </b><i><b>A Different Kind of Truth</b></i><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/953a39366b01bae0504efca3ddfdea4179c08a7c/medium/vanhalen.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="300" width="300" /><br><br>A number of legendary 1970s hard rock bands put out new records this past year (i.e. Aerosmith and <a href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=2808050" target="_new">KISS</a>), but Van Halen’s was the best.<i> A Different Kind of Truth</i> sounds like a classic Van Halen recorded in modern times. Plus, it was the first time the band has made a full album with David Lee Roth in over twenty-fives years. There were a lot of expectations on this disc and the band delivered.<br><br><b>9.) John Mayer – </b><i><b>Born and Raised</b></i><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/5a49d961f5c8139fe0aca8f4b6c14ce79d0f763c/medium/johnmayer.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="300" width="300" /><br><br>Apparently, John Mayer stocked up on Allman Brothers and Neil Young albums while in exile in Montana. The result was this album filled with heartfelt folky goodness! See the review <a href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=2219526" target="_new">here</a>.<br><br><b>10.) The Hives – </b><i><b>Lex Hives</b></i><br><img src="//d10j3mvrs1suex.cloudfront.net/u/16/e60dd6d9ca36c3e34033269e556000669f44abaf/medium/lexhives.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="300" width="300" /><br><br>The Hives' albums all kind of sounds the same, but they always have a special charm. <i>Lex Hives</i> is filled with high-energy proto-punk jams that are sure to get your heart racing and your feet dancing. If you want to burn some calories, crank this record and hop on your favorite elliptical machine.
Dan Miraldi
tag:danmiraldi.com,2005:Post/272930
2012-12-30T05:55:00-05:00
2017-02-01T19:50:36-05:00
5 Of The Most Under-rated Songs of 2012
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So much great music came out this year, but here are five jewels that might have not been on your radar. <br><br><a target="_new" href="https://www.youtube.com/watch?v=AKdTNUBO3fc"> Free Energy – “Electric Fever”</a></b><br><br>
Free Energy’s sophomore album comes out next month, but earlier this year they revealed this tasty treat. “Electric Fever” is the perfect summer jam, a danceable rock anthem complete with plenty of cowbell. The song just feels good!<br><br><b><a target="_new" href="https://www.youtube.com/watch?v=fpYf0bjWGRQ">Alabama Shakes – “Heavy Chevy”</a><br></b><br>
Unless you bought their debut album, <i>Boys and Girls</i> (see RCB’s review <a target="_new" href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=2219572">here</a>), on itunes, you probably missed out on this bonus track. It’s a Chuck Berry-tastic bit of rock and roll lightening that is far more electrifying than anything on the rest of the album. <br><br><b><a target="_new" href="https://www.youtube.com/watch?v=4Fn8BQPBir0">The Rolling Stones – “Doom and Gloom”</a></b><br><br>
Fifty years later, the Rolling Stones still kick serious ass! Check out this joyful nugget. It is one of the two new tracks on their newest compilation <i>Grrr</i>!<br><br><b>Grace Potter & the Nocturnals – “The Lion The Beast The Beat”</b><br><br>
“The Lion The Beast The Beat” is the title track and opening track off of Grace Potter’s newest album. It is a mini-epic that hauntingly builds into rock and roll greatness!<br><br><b><a target="_new" href="https://www.youtube.com/watch?v=DjQoWfstQUU">Green Day – “Stay The Night”</a></b><br><br>
Green Day put out thirty-seven new songs this year, so it is easy to overlook all the gold they have given us. “Stay The Night” is off of <i>¡Uno!</i> and it is an exciting power-pop jem that channels, punk, Cheap Trick and the Beatles. <br><br><br><br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/272761
2012-12-29T12:25:00-05:00
2017-01-14T14:10:22-05:00
Neil Young's Journey Through The Past
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Waging Heavy Peace</i>, is exactly the kind of autobiography you would expect Neil Young to write. His pros are poetic without being pretentious and his words are heartfelt. Though the chapters are not chronological, they all fit together. For instance, he has a chapter about coming to California in search of Stephen Stills in the pre-Buffalo Springfield days. In the next chapter, he gives an interesting juxtaposition of past and present by skipping to how Stills and his relationship is today. Throughout the book, readers learn much about his approach to songwriting and the stories behind many of the bands he has been a part of. In addition, Young provides insights into his interests outside of music, such as film, model trains and cars. Yes, there is a lot about cars and his experiments in converting classic automobiles into eco-friendly modes of transportation. He frequently rants about how much audio quality is lost by selling music digitally and through mp3. However, he offers solutions through his music company, Pono. All in all, <i>Waging Heavy Peace</i> is an enjoyable read. Young has created a poignant self-portrait that really lets readers see the man behind the music.
Dan Miraldi
tag:danmiraldi.com,2005:Post/270655
2012-12-23T15:45:00-05:00
2017-02-01T19:48:42-05:00
Dogs Eating Dogs: Blink-182 Bites Back!
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This year, Christmas came early to pop-punk fans! Last week, Blink-182 released their splendid new 5-song EP,<i> Dogs Eating Dogs</i>. Having recently left their label Interscope, Tom DeLonge, Mark Hoppus and Travis Barker decided it was time to step out on their own. With <i>Dogs Eating Dogs</i>, they have definitely come out swinging. Unlike last year’s <i>Neighborhoods</i>, the band chose to actually all work together in the same studio instead of emailing tracks back and forth from different locations. <i>Neighborhoods</i> was by no means a bad record, but with this new EP there is definitely a feeling that the band has its mojo back. <i>Dogs Eating Dogs </i>is lean and mean and more cohesive than its predecessor. The boys didn’t mess around. In fact, Blink only started recording the EP on November 5, 2012 and BOOM! Here it is! Merry Christmas! On the whole, the most remarkable thing about this new collection is that Blink has magically found a way to create something that sounds very current without losing that crunchy pop spirit that made songs like “All The Small Things” and “Feeling This” great.<br><br>
The opening track “<a href="https://www.youtube.com/watch?v=zvdlfIDwaZI">When I Was Young</a>” opens with slow distorted drum beats and an organ intro a la the All American Rejects “Swing Swing”, before switching into full-on Blink-mode with Barker’s rapid-fire gunshot drumming and DeLonge’s nasal vocal delivery and palm-muted guitar. The chorus opens up in classic Blink style with Hoppus providing his trademark call and response backing vocals and harmonies. Neither DeLonge or Hoppus has a traditionally great voice, but as singers both have a distinctiveness and attitude that is unique and immediately identifiable as Blink-182 when the two are put together. Next, the energy goes up a notch with the <a href="https://www.youtube.com/watch?v=WXfQzPj0yXI">title track</a>. The song really drives with Barker’s masterful snare work and Hoppus singing lead on the verses and pre-choruses before trading off the choruses with DeLonge. The next song, “<a href="https://www.youtube.com/watch?v=Cx6qnqj2MQU">Disaster</a>”, could comfortably appear on one of DeLonge’s Angels and Airwaves’ albums. It is a little slower and the guitar has more of a U2 vibe. Lyrically, it is mildly cheesy for example: “What do you fear my love? Your soul it will float like a dove.” It is by no means a bad song, just not as strong as the other four. However, the next track, <a href="https://www.youtube.com/watch?v=qDqz5F7Dat0">“Boxing Day”</a> is one of those special Blink jems that goes in the file with tracks like “I Miss You”. It is an acoustic song that is both pretty and bittersweet, dealing with being dumped the day after Christmas. It is folky, poppy and catchy with DeLonge singing the verses and Hoppus singing the chorus hook of: “You left me on the day after Christmas.” The closer <a href="https://www.youtube.com/watch?v=5T9i0SDihao">“Pretty Little Girl”</a> is a really enjoyable track complete with electronic keyboard loops and a full on pop-punk chorus that is built to make you dance. There is even a guest appearance by rapper Yelawolf. This may cause some people to scratch their heads, but it works. <br><br>
Check it out!<i> Dogs Eating Dogs </i>is a lot of fun. Longtime fans should be pleased. Blink-182 sounds truly renewed as if they are flexing their muscles to get ready to deliver something truly special. <br><br>
Essential Tracks: “When I Was Young” and “Boxing Day”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/56175
2012-10-11T05:20:00-04:00
2017-01-14T14:10:20-05:00
KISS's Monster Rocks On!
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Okay, hear me out! Curiosity got the best of me and I decided to check out the new KISS record, <i>Monster</i>. I had low expectations and was expecting Cheesefest 2012 and, yes, there are plenty of cheesy moments, but <i>Monster</i> is pretty sweet. The opener “Hell Or Hallelujah” has a killer guitar riff (think Aerosmith meets Zeppelin). They keep up the momentum throughout the album with other fun rockers like: “Wall Of Sound” and “Back To The Stone Age.” KISS didn’t reinvent the wheel on this album. Instead, they just kind of rediscovered it by cutting out outside writers, orchestras, ballads and by recording on analog. It sounds great! The band really gets back to its roots. <i>Monster</i> is a fun rock record and is really catchy. Turn it on and I dare you not start head banging. I will even go as far as to say that this is the best KISS album since 1977’s <i>Love</i> <i>Gun</i>. It might be KISS’s best record since <i>Destroyer</i>. All in all, it a great time for those you who want to rock and roll all night and party every day. <br><br>
Essential Tracks: “Hell Or Hallelujah” & “Wall Of Sound”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/230370
2012-10-11T05:15:00-04:00
2017-01-14T14:10:22-05:00
Dylan Still Finds His Words, (But Too Bad He Didn't Clear His Throat)
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Here’s the deal with this record. <i>Tempest</i> is a solid addition to the Dylan canon. It proves that the man can still write great songs with rich lyrics. As always, he is personal, yet completely mysterious. Also worth noting: there are numerous songs about murders. <i>Tempest</i> might possibly be Dylan’s bloodiest record. If you pay attention to many of the songs’ story lines, you will notice that body count quickly adds up.<br>
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The catch with <i>Tempest</i> is Dylan’s vocals. Yes, I know people have been harping about his singing since he was in his early twenties. I also recognize that a singer’s voice usually gets lower over time. Dylan’s once nasally voice is now a smoky growl. It’s been that way since he released 1997’s masterpiece, <i>Time Out Of Mind</i>. I don’t have a problem with this. I have a problem with the fact that he didn’t clear his throat before singing several of the tracks and you can hear the flem in his throat. That is gross. The opener “Dusquesne Whistle” has a lot of energy. It is a great track until you hear the flem gurgle in Dylan’s voice. Even Dylan’s touching tribute to John Lennon, “Roll On John”, is marred by flemmy singing. Too bad, no one in the studio had the nerve to say, “Hey Bob, this track sounds sweet. Why don’t you clear your throat and we’ll take it from the top?” <br><br>
That being said, there is still plenty to appreciate in <i>Tempest</i>. “After Midnight” with its pretty melody waltzes along like a summer night. “Pay In Blood” rocks like Bob Dylan fronting the <i>Bridges of Babylon</i>-era Rolling Stones. “Early Roman Kings” and “Narrow Way” are two groovin’ blues rock tracks that sound like they could have been recorded at Chess Studios in the 1950s. “Scarlet Town” has some incredible lyrics, including the biting: “<i>Set ‘em Joe, play “Walkin’ the Floor”. Play it for my flat-chested junkie whore.</i>” It is very dark, but still poetic. <br><br><i>Tempest</i>, has its flaws, but is anchored by many more moments of undeniable brilliance. So yeah, at the end of the day, Dylan’s still got it.<br><br>
Essential tracks: “After Midnight”, “Narrow Way” and “Scarlet Town”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/219256
2012-09-24T16:15:00-04:00
2017-01-14T14:10:22-05:00
Winds Do Change, William Beckett Finds His Voice Again
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Since the break up of The Academy Is . . ., William Beckett has been working on his solo career. Instead of releasing a full-length, Beckett has chosen the route of releasing a series of EPs every so many months. The first was <i>Walk The Talk</i>, which came out this spring. It was kind of all over the place. The EP was not entirely bad, but fell flat and sounded like Beckett was having an identity crisis. However, in late July, he released his second and much stronger installment, <i>Winds Will Change</i>. In these four songs, Beckett finds his stride and delivers the goods.</div>
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The EP opens with the acoustic and poppy “Great Night”. It a song about having an enjoyable evening, but knowing that your date isn’t the one. “It just wasn’t there”, he repeats in the refrain. It’s really catchy and has a big sing-along chorus. The next track “Warriors” has more of a rock dance groove that falls somewhere between T.A.I. and Franz Ferdinand and is possibly the best song of the batch. “Scarlett (Tokyo)” should also make T.I.A. fans happy. It’s catchy, but isn’t as strong as the other songs on the EP. The closer, “Dig A Hole”, has verses driven by acoustic guitars that open into a lush synth driven chorus. The change in dynamics is very cool. <i>Winds Will Change</i> is a well-produced and well-written collection of songs. If Beckett keeps this up, he will be on his way to a successful solo career.<br><br>
Essential tracks: “Warrior” & “Dig A Whole”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/213688
2012-09-13T09:45:00-04:00
2017-01-14T14:10:22-05:00
Yellowcard Stay True To Their Classic Sound On "Southern Air"
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For those of you who get your pop-punk bands confused, Yellowcard was the one with the electric violin. They had a string of hit songs on MTV in the mid-2000s before going on hiatus in 2008. In 2010, they got back together and released <i>When Your Through Thinking, Say Yes</i> the following year. Last month, Yellowcard released their eighth studio album, <i>Southern Air</i>. If you like Yellowcard, you are in for a treat. <i>Southern Air</i> sounds like classic Yellowcard. If you don’t like them, well . . . you can argue that it sounds exactly like every other Yellowcard album. <br><br>
The album kicks off with “Awakening” a solid opener and mosh-pit starter. It starts off quite and then explodes in that traditional Yellowcard way. For the most part, each track keeps up the energy with big choruses and quiet to loud dynamic changes. The acoustic ballad “Ten” shows singer and lyricist Ryan Key at his most vulnerable, singing to miscarried child. The song has a beautiful melody and is a nice change of pace. Lyrically, Yellowcard has always been a rather reflective band with songs about Ryan Key’s family members, relationships and friends. On<i> Southern Air</i>, there is a greater sense of peace and maturity when covering these topics. Prime examples are “Telescope” and the closer “Southern Air”. All in all, as stated earlier, <i>Southern Air</i>, is classic YC. However, unlike some of their contemporaries, Yellowcard has found a way to be true to their classic sound without rehashing the past.<br><br>
Essential tracks: “Awakening”, “Ten” & “Southern Air”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185236
2012-06-18T11:15:00-04:00
2022-05-10T14:25:21-04:00
John Mayer’s Heartfelt Return
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Two year ago, John Mayer’s stupid mouth got him in trouble. Since then, he’s been hiding out in Montana recalibrating his life and hiding from TMZ. Now he’s back with a very chilled-out Allman Brothers-flavored album, <i>Born and Raised</i>; on it, he declares that he’s “a good man with a good heart”. The album comes off with heartfelt sensitivity. He doesn’t rip any crazy guitar solos, but there’s plenty to enjoy here, such as the title track, which features gorgeous harmonies from David Crosby and Graham Nash. The slow-grooving opener, “Queen California”, is pretty cool and sounds like the cousin of the Allman’s “Midnight Rider”. Also, “Walt Grace’s Submarine Test, January 1967” is a jewel. Welcome back John!
Dan Miraldi
tag:danmiraldi.com,2005:Post/185234
2012-04-23T11:10:00-04:00
2017-01-14T14:10:22-05:00
Alabama Almost Shakes
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Alabama Shakes are the hip new buzz band. Their debut record, <i>Boys And Girls</i>, dropped this month and they are living well, having landed an opening slot for Jack White. Their music is vintage soul reminiscent of the classics that came out of Muscle Shoals back in the late sixties. The singer Brittany Howard has a powerhouse voice that is one part Janis Joplin and one part Amy Winehouse. The band plays tight and dirty. On the whole the record is good, however, they don’t really bring anything new to the table. They do a sound job of recreating southern soul, but they haven’t quite figured out how to make it their own. Most of the songs are slowing grooving or mid-tempo. The music is very likeable, especially with the opening song and single “Hold On” and Black Keys-esque “Heartbreaker”. However, nothing really “shakes” until the bonus track “Heavy Chevy” rolls along. The tune is hands down the best thing on the album. It’s an all-round great blood-boiling rock and roll song complete with slamming pianos, and an explosive Keith Richards-style guitar solo at the end; plus, Brittany Howard howls like a female Little Richard.<i> Boys And Girls</i> would be a better album was more music in the vein of “Heavy Chevy”. In the end, Alabama Shakes are a good band with great potential. Let’s see what they do with it.<br><br>
Essential tracks: “Heavy Chevy” “Hold On”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185232
2012-03-15T11:05:00-04:00
2017-02-01T18:15:34-05:00
More Fun. With "Some Nights"
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A few weeks ago, Fun. released their sophomore album, <i>Some Nights</i>. Propelled by the success of the album’s catchy first single <a target="_new" href="https://www.youtube.com/watch?v=Sv6dMFF_yts">“We Are Young”,</a> Fun. are blowing up. The song is prominently featured in Chevy commercials while the music <a target="_new" href="https://www.youtube.com/watch?v=Sv6dMFF_yts">video</a> has made its way into rotation on VH1. However, the attention is deserved. <i>Some Nights</i> is an excellent record that lyrically and musically fits next to its predecessor, <i>Aim And Ignite</i>, but also incorporates new influences that make it more appealing to a wider audience.<br>
The album's musical focal point is lead-singer Nate Ruess’s golden tenor and honestly emo lyrics and story telling. On a few songs, the band toys with auto-tune effects on the vocals. It works sometimes with tracks like the up-tempo “It Gets Better”, where it is used a double of the lead, but in the track “Stars” it gets kind of annoying. Ruess has one of the most beautiful voices in current popular music, so the auto-tune effect is unnecessary. Other new tricks include hip-hop influenced beats which depart from the more straight-forward drumming of <i>Aim And Ignite</i>. In interviews, the band has sited Kanye’s <i>My Beautiful Dark And Twisted Fantasy</i> as influence in the way the album was produced, thus adding further context to the change up in percussion. However, the percussion on certain tracks like the title track, "Some Nights", is reminiscent of <i>Graceland</i>-era Paul Simon and Vampire Weekend’s <i>Contra</i>. This is mostly in the way the underlying beat sounds like more traditional African drumming instead of straight up hip-hop. Regardless, the band makes it work.<br><br>
One of the great things about Fun. is that their music is so eclectic. Some Nights is filled with very catchy pop songs and hooks created by mashing up many styles and influences. The harmonies on “Some Nights (Intro)” have a very Queen nature to them; whereas the next track opens with harmonies structured similarly to Kansas's "Carry On My Wayward Son", before the song is driven by some of the traditional African drumming I described earlier. The ballad, “Why Am I The One”, busts into a chorus reminiscent of 1970s Elton John. The biggest stand out on the album is “One Foot”. It has a great hip-hop groove accented by a horn section and the verse could have been a lost Paul Simon melody reborn in 2012.<br><i><br>
Some Nights</i> is an enjoyable listen and one of the strongest releases of 2012. Fun. have created an album that is accessible to their increasingly growing audience. At the same time, <i>Some Nights</i> is a rich album with a lot to take in. Essential tracks are: “One Foot”, “We Are Young” and “Why Am I The One”.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185231
2012-03-09T10:00:00-05:00
2017-01-14T14:10:22-05:00
The Return of Ringo Starr!
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With drum hits that replicate the opening of the Beatles’ song “Glass Onion”, Ringo Starr’s newest disc <i>Ringo 2012 </i>kicks into gear. A stabbing guitar line follows that sounds very similar to the opening riff from “Sgt. Pepper’s Lonely Hearts Club Band”. It’s not a total rip off; it’s more an allusion to remind listeners of Richard Starkey’s roots – incase anyone has forgotten! That’s been Ringo’s modus operandi for the last ten years. In that time, he has pounded out five albums of Beatlesque material, trying to make music that fits sonically with the band’s early rock or psychedelic periods. The first of these albums were 2003’s masterpiece <i>Ringo Rama</i> and 2005’s <i>Choose Love</i>. Both are rock solid and stand comfortably next to any Beatle solo album. Then, there was 2008’s <i>Liverpool 8 </i>which was high on filler and followed by 2010's <i>X & Y </i>which was all filler. Even the high number of high-profile special guests (which included Paul McCartney) couldn’t save it.<br><br>
I am relieved to announce that Ringo 2012 is definitely an improvement over <i>Liverpool 8</i> and <i>X & Y</i>. The album is lean and mean with nine songs clocking in at 28 minutes and 55 seconds. Two tracks are rerecorded versions of some of his lesser-known songs from the 1970s “Wings” and “Step Lightly”. Five are new originals co-written by Ringo. Lastly, there are two are covers. One is Buddy Holly’s “Think It Over” and the other is Ringo’s take on the standard “Rock Island Line”. The cover tunes have a lot of energy and are worth checking out as are the rerecorded tracks from 1970s. Of the new originals, “Anthem” is good not great and “Samba” is forgettable. However, the album ends strong. The mid-tempo pop song “Wonderful” is delightful with its tasty lead guitar work. The next song, “In Liverpool” is about Ringo’s childhood and rise to stardom. This topic is definitely something that he has sung a lot about on recent albums, but he pulls it off once more and the power ballad comes off as one of <i>Ringo 2012’s</i> highlights. The album closes with the groovin’ rocker “Slow Down” which is co-written with and features Ringo’s brother-in-law Joe Walsh on guitar. It’s a satisfying conclusion to an album that proves Ringo Starr shouldn’t be written off.<br><br>
Essential tracks are: “Wonderful”, “In Liverpool” & “Think It Over”.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185230
2012-03-01T09:50:00-05:00
2017-02-01T18:15:33-05:00
Foxy Shazam Takes You To Church!
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Holy crap! Did someone resurrect Freddy Mercury? No, that’s just the sound of Eric Nally, the charismatic lead vocalist of Foxy Shazam – the band that just unleashed an excellent brand new LP <i>The Church of Rock and Roll </i>produced by the Darkness’s Justin Hawkins. The record borrows from 80s pop-rock and 70s glam and tastefully adapts them into a modern setting. The album opens with a virtual rock and roll blitzkrieg going from the epic head-banging opener “Welcome to the Church of Rock and Roll” into their super-catchy single “I Like It” with this its sassy chorus of “that’s the biggest black ass I’ve ever seen and I like it” following that with the Queentastic “Holy Touch” and Pat Benatarish “Last Chance at Love”! The pace slows with “Forever Together” and “(It’s) Too Late Baby” allowing listeners to catch their collective breaths, before they are hit with another barrage of glamtastic awesomeness that includes highlights like “I Wanna Be Yours”, “Wasted Feelings”, “The Temple” and the funky “The Streets” and closes with the power ballad “Freedom”.<br><i><br>
The Church of Rock and Roll</i> is ambitious album that delivers the goods. From front to back it’s one fun good time. Foxy Shazam have arrived and on behalf of the Rolling Clone Blogazine, I like it.<br><br>
Essential tracks are <a href="https://www.youtube.com/watch?v=4rz4I69mQMo">“I Like It”</a>, “Holy Touch”, “Last Chance at Love” “Wasted Feelings” and “I Wanna Be Yours”. (Yes, I know it’s half of the album.)<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185227
2012-02-27T09:40:00-05:00
2017-01-14T14:10:21-05:00
Ben Kweller’s “Go Fly A Kite” Flies High
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When Ben Kweller was writing his new album, <i>Go Fly A Kite</i>, he was definitely mad at someone. This is not to say that the songs have to be autobiographical, but the lyrical themes of anger, loss, betrayal and, at the end of the record, resolution are not hidden. After 2009’s country-tinged <i>Changing Horses</i>, he has returned to the 1970s-influenced brand of indie power-pop of his first three albums. Country Kweller has its charm, but it’s nice to have him return to his classic sound. What makes Ben Kweller’s records interesting is that he doesn’t write just one style of song. With Go Fly A Kite, he writes rockers, ballads, waltzes and folky-influenced mid-tempo tunes, yet each song fits well musically next to the other.<br><br>
The album opens with a kick in the teeth with the rockin’ “Mean To Me” with its gritty guitar tones and driving drums. The song “Jealous Girl” sounds like the cousin of Kweller’s 2006 jem “Penny On A Train Track” with its triumphant sounding piano intro and big sing-along-inducing chorus. The following track “Gossip” has the feel of something off of John Lennon’s <i>Plastic Ono Band</i> album with it’s simple waltzing piano and no frills drumming, also the way Kweller delivers the word “dowhahahown” is very Lennonesque. The next song “Free” has some sweet 1970s country-rock harmonies in its chorus and a groovin’ guitar solo, before switching into a more pop-folk vein for “Full Circle”. However, the best song on the record is “Time Will Save The Day” which rips to life sounding like the power-pop love child of Bob Dylan and Kurt Cobain. The rhyme structure of the choruses is very tight and drive the song along while the chorus opens up very melodically making the song a lot of fun. Lastly, the album comes to satisfying and bouncy up-tempo conclusion with “You Can Count On Me”. The track brings in more rich 1970s folk-rock harmonies while Kweller delivers a message of optimism and comfort with: “When your lost and you need new eyes to see, you can count on me”.<br><br>
In the end, <i>Go Fly A Kite</i> doesn’t let Kweller fans down. It’s more complex than what listeners might hear the first time they give it a spin. As of now, it is the best record I’ve heard in 2012. I think buying the whole album is a worthy investment, but if you’re a single-song buyer, the essentials are: “Time Will Save The Day”, “Jealous Girl” “Mean To Me” and “Free”.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185226
2012-02-26T09:35:00-05:00
2022-03-05T05:41:17-05:00
The Jim Ivins Band Return With New EP
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This month, the Virginia-based <a target="_new" href="http://www.myspace.com/thejimivinsband">Jim Ivins Band</a> released their new EP <i>Everything We Wanted</i>. It’s an 8-song collection of very accessible acoustic-driven pop-rock tunes reminiscent of a blend between the Goo Goo Dolls, John Mayer’s <i>Room For Squares</i> and Sherwood’s <i>A Different Light</i>. Although a few of these songs such as “Run” and “Rollercoaster” appeared on Ivins' 2007 solo album <i>99 Cent Dreams</i>, the versions on <i>Everything We Wanted </i>sound more polished. Overall, the EP's production is great and the songs are filled with hooks that explode into large radio-ready choruses. Highlights are the title track as well as the openers “Run” and “The Sight of Fire”. The lyrics are heartfelt without being sappy, in “The Sight of Fire” Ivins sings: “You burn your bridges, because you like the sight of fire” – who hasn’t met that person? Anyway, <i>Everything We Wanted</i> is a very likeable record ideal for a long drive on sunny day.
Dan Miraldi
tag:danmiraldi.com,2005:Post/185225
2012-01-01T09:15:00-05:00
2020-01-20T05:31:51-05:00
The Rolling Clone Blogazine’s Best LP Releases of 2011
Here you have it . . . <br><b><br>
1. Foo Fighters – Wasting Light<br></b>
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1.) The reunion of Dave Grohl with Nirvana’s <i>Nevermind</i> producer, Butch Vig plus a guest appearance by Chris Novoselic didn’t hurt this record’s chances. More importantly, this record is made up of great songs from start to finish. <i>Wasting Light</i> is definitely the best album the Foo Fighters have made in the last ten years if not their career.<br><br><br><b>2. The Kills – Blood Pressures<br></b>
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2.) Check of the RCB review <a href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=2219481">here</a>. <i>Blood Pressures</i> is a great dirty rock n roll record that doesn’t let up.<br><br><b>3. Wild Flag- Wild Flag<br></b>
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3.) Wild Flag’s debut is a fun post-punk meets pop album. Think of Blondie’s <i>Parallel Lines </i>with more girl-power bite!<br><br><br><br><br><br><b>4. The Black Keys – El Camino</b>
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4.) See the full review <a href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=2219481">here</a>. The Black Keys continue to grow and explore new musical avenues without losing track of their identity. This record is solid all the way through and includes the gem “Little Black Submarine” which is probably one of the best songs released this year.<br><br><br><br><b>5. Blink-182 – Neighborhoods<br></b>
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5. The first new album from the reunited Blink-182 is in itself a reason for celebration. The fact that this album is also excellent is just icing on the cake. The album picks up where the band left off in 2003, but moves forward with great songs like “Ghost On The Dancefloor” and keeps old fans happy with throwbacks like “After Midnight.”<br><br><br><br><b>The 2011 Honorable Mentions:<br>
6. Sleeper Agent – Celebrasion<br></b>
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6.) Sleeper Agent’s debut album is a refreshing breath of fun. The songs are power-pop and each track flows nicely into next without the record getting boring. Trust me, it’s solid. Check out great party jams like “Be My Monster” and “Shuga Cane.”<br><br><br><br><b>7. Angels & Airwaves – Love Pt. 2<br></b>
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7.) See my full review <a href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=2219452">here</a>. The second great album from Tom DeLonge this year!<br><br><br><b>8. Cage The Elephant – Thank You Happy Birthday</b><br><div style="text-align: center; "><img src="//d10j3mvrs1suex.cloudfront.net/u/16/056124631b0f110c6eb43ec89dd170b63a8ed483/original/cagetheelephant.jpg?1380073113" class="size_orig justify_inline border_" alt="" height="300" width="300" /></div>
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8.) The magic wasn’t just in the radio singles like “Shake Me Down” and “Aberdeen”. Cage The Elephant's sophomore album is filled with a lot of 1990’s throwback glory with tracks like “2024” and “It’s Always Something”. <br><br><br><b>9. Red Hot Chili Peppers – I’m With You</b><br><div style="text-align: center; "><img src="//d10j3mvrs1suex.cloudfront.net/u/16/1b4d9ab0f0014b877ebf7b86cf1bfdc2bb005bf8/original/31TKl5-5HeL_SL500_AA300.jpg?1380073112" class="size_orig justify_inline border_" alt="" height="300" width="300" /></div>
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9.) See the full review <a href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=2219481">here</a>. Despite a shift in personnel, the Red Hot Chili Peppers carry on and gracefully find a new groove with their latest record,<i> I’m With You</i>. They also are going to be inducted in the Rock and Roll Hall of Fame in 2012!<br><br><b>10. The Strokes – Angles<br></b>
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10.) The return of the Strokes! Need I say more . . . Check out “Under Cover of Darkness”, “Machu Picchu”, “Taken For A Fool” and “Life Is Simple In The Moonlight”!<br><br>
I can't wait to see what 2012 has to offer!<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185223
2011-12-29T09:00:00-05:00
2017-02-01T18:15:32-05:00
A Joyride with the Black Keys' El Camino
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The boys from Akron are back. This month, the Black Keys unveiled their follow up to their 2010 critically acclaimed <i>Brothers</i>. It’s called <i>El Camino</i> and it’s awesome. This time around, the Keys reteam with Danger Mouse, their producer on 2008’s Attack & Release as well as their 2010 hit single “Tighten Up”. Where as Brothers was a darker soul/blues album, its successor is much poppier and upbeat while the guitar tones have more of that Jack White “Icky Thump”-era bite.<br><br>
Die-hard Black Keys "fans" might be turned off by the slickness of <i>El Camino’s</i> production, but haters can go jump off a bridge. The Black Keys are no longer that little band playing clubs and recording on analog tape machines in their basements. As they head off on their first headlining arena tour, they are deservedly one of the biggest and best bands in America. On <i>El Camino</i>, the band experiments with new things like multi-layered harmonies, bells and a greater usage of organs and synths. However, the Black Keys sound has always been defined by Dan Auerbach howling blues vocals, dirty-garage guitar and Patrick Carney’s straightforward, but hard-hitting drumming. These elements are still at the record’s core. Therefore, the Black Keys signature sound is still there as the band explores new territory.<br><br>
As to the essential tracks: the opening song <a target="_new" href="https://www.youtube.com/watch?v=a_426RiwST8">“Lonely Boy”</a> is classic Black Keys and one of the catchiest things they’ve ever written. “Gold On The Ceiling” and “Money Maker” are a lot of fun too. However, the biggest gem of <i>El Camino</i> is “Little Black Submarine”. It’s starts off as a quiet unassuming folk song and blows up into garage-blues ecstasy. It’s their answer to “Stairway To Heaven” and the guitar solo will smoke your eyelids off and leave your speakers steaming.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185222
2011-11-30T08:45:00-05:00
2017-01-14T14:10:21-05:00
A Very Pleasant She & Him Christmas
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Sorry Justin Bieber - of the Christmas records out this year I recommend checking out She & Him’s <i>A Very She & Him Christmas</i>. Unlike many other competing seasonal albums, this one doesn’t suffer from over-production. The vibe is one where you are relaxing by the fire, drinking eggnog while your friends Matt Ward and Zooey Deschanel serenade you with some of their favorite holiday tunes. The instrumentation stays tastefully understated: sparse guitars, light percussion and some BrianWilson-inspired harmonies thrown in for accents. The mood remains warm as Zooey’s honey sweet voice croons out some of the best tunes in the Christmas canon, “The Christmas Waltz,” “Have Yourself A Merry Little Christmas,” “The Christmas Song” and so on. They even dig out an obscure Beach Boys holiday gem, “Christmas Day” as well as their better-known “Little Saint Nick” – although, the latter doesn’t compete the original. A minor problem is that the record stays very chilled-out and doesn’t really change gears very often. However, She & Him’s solid takes on “Sleigh Ride” and on Brenda Lee’s “Rockin’ Around The Christmas Tree” provide nice momentary changes in tempos and are the record’s peppiest songs.<br><br>
All in all, <i>A Very She & Him Christmas</i> is a very pleasant holiday album. Essential tracks to add to your seasonal playlist are the album’s opener, “The Christmas Waltz” and “Rockin’ Around The Christmas Tree” as well as Matt and Zooey’s vocal duets on “Sleigh Ride” and “Baby, It’s Cold Outside”.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185221
2011-11-18T08:45:00-05:00
2017-01-14T14:10:21-05:00
Prolific Tom DeLonge Unleashes Killer New Angels & Airwaves Disc
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Props to Tom DeLonge! He has been a busy dude. A month after releasing the excellent new Blink-182 album (see the RCB review of their single “Up All Night” <a href="http://danmiraldi.com/fr_blogrcb.cfm?feature=3630905&postid=2219409">here</a>), he presents listeners with a solid new Angels & Airwaves album, <i>Love Pt. 2</i>. If you didn’t get last year’s free download of <i>Love Pt. 1</i>, both parts are packaged together if you buy the physical CD.<br><br>
With <i>Love Pt. 2</i>, the bottom line is if you like Angels & Airwaves, you’ll be pleased with this record. In some respects, Angels & Airwaves are like AC/DC where listeners can expect a very consistent sound from record to record. Angels & Airwaves’ music continues to fuse 1980’s U2-ish musical soundscapes with synthesizers and punk rock. And like AC/DC, some albums are better than others. <i>Love Pt. 2</i> is one of the Angels & Airwaves best records and is probably their best record since their fabulous 2006 debut, We Don’t Need To Whisper. 2007’s I-Empire had some standout songs, but the disc was ultimately weighed down by the long extended techno-beat synth intros that killed the record’s momentum at points. Love Pt. 1 was a strong album, but Love Pt. 2 is better. There is more “meat” to the music. DeLonge and co. keep the synthy intros in check and the album rocks harder. DeLonge and guitarist David Kennedy pull tricks from their experience in Box Car Racer and make the guitars a little heavier with a punkish punch, enhancing the records momentum without distracting from the bands key identifying sonic elements. The track “Inertia” is a prime example of this. Also, there is an overall sense of romantic optimism in the album’s lyrics, making <i>Love Pt. 2</i> more uplifting than its predecessor.<br><br>
Overall, Angel’s & Airwaves fall into the category of an “albums band” versus a “singles band.” Each track flows into the next to create one complete listening experience. Therefore, the best way to appreciate the band is to listen to their records all the way through (not on shuffle!). However, for you single song purchasers, the biggest highlights are the opening three songs “Saturday Love”, “Surrender” and the Muse-like single “Anxiety” as well as “Behold A Pale Horse.” Check this record out; it’s in the running for being one of <i>Rolling Clone Blogazine’s</i> top five records for 2011.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185218
2011-11-13T08:10:00-05:00
2020-07-24T22:56:51-04:00
Alice Cooper's Extra Ghoulish (and Extra Cheesy) Sequel
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For those kids who wish My Chemical Romance would write a sequel to 2006’s <i>The Black Parade</i>, check out Alice Cooper’s new disc, <i>Welcome 2 My Nightmare</i>. It’s the sequel to his 1975 album <i>Welcome To My Nightmare</i> (yes – a very clever title indeed). One must listen to the record having a sense of humor and appreciate Alice Cooper’s very tongue-in-cheek lyrics about ghouls (“Ghouls Gone Wild”) and why disco still sucks thirty years later (“Disco Blood Bath Boogie Fever”). The album is for the most part pretty good, not great. It’s funny, cheesy and over-the-top. If you go in with the right frame of mind, you’ll probably enjoy it. The best songs are “I’ll Bite Your Face Off”, “I Gotta Get Outta Here” and the ballad “Something To Remember Me By”. I’m not sure how I feel about his duet with Ke$ha, “What Baby Wants”. It might be so bad it’s good or a sign of the Apocalypse. You pick. In the meantime, rock on Alice!
Dan Miraldi
tag:danmiraldi.com,2005:Post/185215
2011-11-13T08:05:00-05:00
2017-01-14T14:10:21-05:00
New "Tricks" From Attack Cat!
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Power-pop lovers are in for a treat. Last month, Cleveland rockers Attack Cat (a.k.a. Rachel Hoskins and Dave Douglas) dropped their new EP, <i>Dandy Outlaws</i>. It sounds so sweet that you’ll probably get a sugar high just listening to it. <i>Dandy Outlaws</i> picks up where Attack Cat’s debut EP <i>When The Moon Was Big</i> left off, but moves into new territory. The record sounds bigger, the production cleaner and the hooks catchier. The EP has a Cobra Starship vibe, only Attack Cat are better. Get the whole EP, but biggest highlights are “Tricks,” “RCA” and the lead single, “You Want Me Crazy” (which was actually mixed by the legendary Chris Lord-Alge). Check it out! Eat your heart out Gabe Saporta!
Dan Miraldi
tag:danmiraldi.com,2005:Post/185214
2011-10-26T09:00:00-04:00
2017-01-14T14:10:21-05:00
Red Hot Chili Peppers Chill Out On New Disc
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Five years have passed since we last heard new music from the RHCP. Things have changed, for one they have a new lead guitarist, Josh Klinghoffer, taking the place of virtuoso John Frusciante. The new album, <i>I’m With You</i>, sounds like the RHCP, but overall the vibe is more laid back. It is not as daring a work as it’s predecessor, the double-disc <i>Stadium Arcadium</i>, but it is consistently quality work from start to finish. Veteran RHCP producer and musical guru, Rick Rubin is back at the helm, guiding the band as it redefines old chemistries and creates new ones with Klinghoffer. Klinghoffer is not Frusciante and does not try to be. The guitar work has certainly been downplayed. The member that really shines on this album is drummer, Chad Smith. His beats are fun and the drum’s production quality is great. He’s never sounded better. Frontman Anthony Kiedis for the most part has given up on rapping his lyrics and continues to grow as a singer. Lastly, there is Flea, the sold backbone behind the RHCP’s signature groove.<br><br>
If I were to describe <i>I’m With You</i> in one word, it would be “pleasant.” This is the RHCP’s in transition, but still making quality music. Essential tracks are opening track “Monarchy of Roses” with its Blondie-esque disco synth, the understatedly beautiful “Police Station” and then the single “The Adventures of Rain Dance Maggie.”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185210
2011-09-15T09:00:00-04:00
2017-01-14T14:10:21-05:00
Kravitz's "Black and White America" – There’s A Great Album In It . . . Somewhere
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Lenny Kravitz’s <i>Black and White America</i> is an epic 16-song work filled with socially conscious lyrical themes and funky throwback soul grooves. Like many of his previous albums, Kravitz plays most of the instruments. <i>Black and White America</i> includes some of his greatest songs, but is ultimately held back by a failure to eliminate the clunkers. Although he is a proficient multi-instrumentalist and songwriter, perhaps he may have benefited from some input from outside musicians? The album starts off strong, but a lot of the last third of the album is ultimately forgettable. Had Kravitz trimmed off some of the fat, <i>Black and White America </i>could have been the best album of his career.</div>
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The record opens with the awesome title track, “Black and White America.” The song is catchy and definitely nods to Isaac Hayes’s “Shaft” in its usage of horns and strings and the call and response backing vocals. Lyrically, it’s political, but hopeful and musically it’s just a darn good time. The momentum is kept up with “Come On Get It” and “Into the Black.” Skip “Liquid Jesus” and then the party continues with the Bowie-esque “Rock Star City Life.” “Boongie Drop” features guest appearances by DJ Military and Jay Z, but sounds out of place kind of like an outtake from No Doubt’s Rock Steady. Some of the more mediocre moments are his James Brown-impersonation “Life Ain’t Ever Been Better Than It Is Now” and the cheesy ballad “Dream” sounds very R. Kelly’s “I Believe I Can Fly.” However, there are plenty of redeeming moments like the Zeppeliny “Everything,” the sexy “Superlove” and the album’s closer “Push.”<br><br>
All in all, <i>Black and White America</i> is a good album that could have been a great album had Kravitz been more selective. Check out the excellent “Black and White America,” “Rock Star City Life” and “Push.”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185208
2011-07-17T08:55:00-04:00
2017-01-14T14:10:21-05:00
Blink-182 Are Back With Their New Single "Up All Night"
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One day Blink-182 will be in the Rock and Roll Hall of Fame. There, I said it. Haters be damned, you know that they deserve it! Along with Green Day, they brought about the punk-pop movement and released a string of hit singles and classic albums, inspiring countless kids to pick up guitars and start bands.<br><br>
This past Friday, Blink-182 released their first new single since 2005. The song “Up All Night” picks up where the band left off with their last full-length 2003’s Blink-182. The song has a “Down” meets “Anthem Part 2” vibe. It opens with some spacey drums before a heavy rock riff kicks in. Duel lead singers, Tom DeLonge and Mark Hoppus, then trade lines back and forth on the verse. It is so nice to here those voices together again, especially when they harmonize in the chorus on: “And all these demons, keep me up all night.” So good, that listeners might even forgive Tom for recycling the chorus melody line from his Angel’s and Airwaves song “Do It For Me Now” in “Up All Night’s” pre-chorus. Woops! “Up All Night” won’t go down as Blink’s greatest song, but the song is strong and shows that this veteran band is still growing musically. In the end, it’s good to have them back! Here at the Rolling Clone Blogazine, we can’t wait to hear the full-length album!<br><br>
You can stream “Up All Night” on Blink-182’s official website.<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185202
2011-05-12T08:45:00-04:00
2017-01-14T14:10:21-05:00
The Kills Return Dirtier and Better Than Ever!
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Between the last two Kills records, singer Alison Mosshart made two psychedelic blues rock albums with Jack White and the Dead Weather. Though they were solid records, it is nice to see her return to her original group with Jamie Hince to make <i>Blood Pressures</i> (now if only Jack White would rethink the fate of the White Stripes! – but I digress). <i>Blood Pressures </i>is great. It’s a dirty rock record with a lot of fight to it. Track by track the Kills have made a consistently strong album. The driving low-tom drum beat and ambient guitars of the opener “Future Starts Slow” create a soundscape perfect for a late night drive or your next flight from justice. The Strokes-esque “The Heart is a Beating Drum” is a highlight as are “Damned If She Do” and the playful “Baby Says.” The song “Wild Charms” which is the only track sung by Hince has a vibe similar to John Lennon’s “Jealous Guy” and transitions nicely with Mosshart’s vocals on the following song “DNA.” In the end, check out this record if you are looking for something to fill the gaping hole in your heart The White Stripes left when they broke up.<br><br>
Essential Tracks: “The Future Starts Slow” & “The Heart is a Beating Drum”<br>
Dan Miraldi
tag:danmiraldi.com,2005:Post/185200
2011-05-06T08:45:00-04:00
2020-12-19T08:52:17-05:00
Fleet Foxes Helplessness Blues – A Thoughtful Journey Through The Past
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<div style="text-align: left; ">It’s hard to open up a music magazine these days and not hear some hype about Fleet Foxes. This Tuesday, their second album Helplessness Blues was released and it is one of the year’s best. If you are into chill Americana-folk music with beautiful harmonies, you should check out this record. The songwriting allows listeners to imagine what a Simon and Garfunkel record would have sounded like if Brian Wilson had arranged the harmonies with a little help from Crosby, Still and Nash. The opener “Montezuma” with its chorus of “Oh man! What I used to be. Oh man! Oh my! Oh me!” is a playful nod to the Pet Sounds/SMiLE-era Beach Boys while many of the other lyrics are reminiscent of Paul Simon with their melodic and rhythmic precision and thoughtful poetic imagery. “The Plains/Bitter Dancer” recalls The Beach Boys “Feel Flows” and the waltzy “Lorelai” feels like Dylan’s “4th Time Around” with it’s arpeggiated acoustic guitar. Overall, Fleet Foxes have learned from some of the best and are now adding some beautiful music to the canon.</div>
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Stand out tracks are the title track “Helplessness Blues,” “Montezuma,” and “Lorelai.” Helplessness Blues is a record for fans of Simon and Garfunkel, The Beach Boys, CSN and Mumford and Sons.</div>
Dan Miraldi